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CHATS    ON 
OLD  PRINTS 


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Chats  on 

Old  Prints 


BY  •  , '  ^  • 

ARTHUR    HAYDEN 

AUTHOR  OF  "CHATS  ON  OLD  CHINA"  AND  "CHATS  ON  OLD  FUfiNITURE' 


WITH    no  ILLUSTRATIONS  AND  A 
COLOURED  FRONTISPIECE 


NEW  YORK 

FREDERICK  A.   STOKES   COMPANY 

PUBLISHERS 

1906 


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<'. 


;'HEUN 


(  All  rights  resei-ved ) 


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TO 
MY    WIFE 

WITHOUT  WHOSE  LOVING  AND  PATIENT 

CO-OPERATION  THIS  VOLUME 

COULD    NEVER    HAVE 

BEEN  WRITTEN 


774413 


PREFACE 


The  study  of  prints  begins  in  the  nursery  in  the 
contemplation  of  toy-books  with  pictures,  unaccom- 
panied by  any  uneasy  qualms  as  to  "  states." 

It  is  a  matter  open  to  question  whether  the 
younger  units  of  the  present  generation,  who  have 
grown  up  in  the  environment  of  the  pictorial 
magazine  and  journal  and  the  thousand-and-one 
forms  of  illustration  by  modern  process,  quite  realise 
the  departure  from  the  older  methods  of  engraving. 
Finely  wrought  steel  engraving  is  a  lost  art,  and  the 
wood  engraver  of  middle- Victorian  days  with  his 
sandbag,  his  boxwood  block,  and  his  graver  has  gone 
to  that  most  permanent  of  all  furrows,  the  grave 
itself,  which  Time  has  cut  enduringly. 

In  order  therefore  to  approach  the  study  of  prints, 
the  beginner  has  to  look  back  to  accustom  his  eye  to 
engraver's  work  of  a  time  immediately  preceding  our 
own.  To-day  photo-mechanical  processes  have  taken 
the  place  of  the  graver  and  the  skilful  hand  and 
trained  eye  of  the  craftsman  behind  it.  In  the 
course  of  the  volume  it  will  be  shown  what  sins  of 


8  PREFACE 

commission  and  omission  have  almost  led  to  the 
extinction  of  both  steel  and  wood  engraving,  and  it 
may  be  here  briefly  stated  that  time  and  the  cost 
of  production  are  the  greatest  factors  governing 
this  result. 

It  is  not  my  intention  to  cast  a  stone  at  modern 
process  work,  which  has  done  so  much  to  extend  the 
knowledge  of  the  fine  arts.  The  engraver's  interpreta- 
tion of  a  picture  or  his  rendering  of  a  design  was  not 
always  too  faithful,  and  by  the  aid  of  the  camera, 
line-drawing  in  particular  can  be  rendered  line  for 
line  in  facsimile.  It  would  be  as  logical  to  quarrel 
with  Caxton's  printing  press  because  it  supplanted 
the  manuscripts  of  ecclesiastical  writers  with  their 
wealth  of  illumination. 

In  the  present  volume  an  attempt  is  made  to 
indicate  the  lines  upon  which  a  man  possessed  of 
artistic  taste  may  proceed  in  order  to  acquire  a  fair 
working  knowledge  of  the  subject  of  old  prints,  and 
to  point  the  way  whereby  with  a  limited  outlay  he 
may  be  able  to  derive  unlimited  enjoyment  in 
collecting  specimens  of  engraving  of  great  artistic 
excellence. 

The  number  of  persons  are  obviously  few  who  can 
afford  to  pay  ;£^2,ooo  for  the  etching  of  Rembrandt 
with  the  Sabre^  or  ;^200  for  Lady  Talbot  engraved  in 
mezzotint  by  Valentine  Green,  or  even  ;£^20  for  the 
stipple  engraving,  The  English  Fireside^  by  P.  W. 
Tomkins.  There  is  a  twenty-shilling  public  whose 
art  instincts  are  not  less  acutely  developed,  but 
whose  spending  capacity  is  strictly  limited  by  the 
resources  of  a   slender  purse.     It  is  for  this  public 


PREFACE  9 

that  this  little  volume  is  intended.  It  is  my  hope 
that  it  will  quicken  into  being  the  dry  bones  of  the 
subject  and  stimulate  the  collector  into  collecting 
with  fine  and  discriminating  taste.  The  end  of  the 
journey  may  be  close  and  unremitting  study  at 
the  Print  Room  of  the  British  Museum  or  the  Art 
Library  at  South  Kensington,  or  at  Christie's  or 
any  other  fashionable  auction-room,  but  in  the  less 
competitive  fields  of  the  lower  slopes  of  print 
collecting  there  is  unlimited  pleasure  to  him  who 
loves  "the  lesser  things  done  greatly." 

Explanatory  definitions  accompanied  by  enlarge- 
ments of  portions  of  prints  will  prove  valuable  to 
the  beginner  in  identifying  the  differing  processes 
of  engraving.  Illustrations  of  a  print  during 
stages  of  its  progress  under  the  engraver's  hand 
and  when  finished,  will  enable  the  collector  to 
acquire  some  knowledge  of  the  technique  of  en- 
graving. 

Typical  examples  are  given  of  prints  by  well- 
known  masters  in  wood  engraving,  line  engraving, 
stipple,  mezzotint,  lithography,  and  etching.  Allusion 
is  made  to  the  finer  specimens  and  prices  given,  but 
the  volume  is  intended  to  appeal  to  a  wider  public 
than  that  usually  associated  with  the  collecting  of 
"  rare  states  "  of  prints. 

It  is  the  opinion  of  the  author  that  prices  do  not 
necessarily  follow  the  artistic  qualities  of  engravings, 
being  more  subject  to  fashionable  caprice  than 
anything  collected  at  the  present  day.  It  is  hoped 
that  the  suggestions  given  in  this  volume  in  regard 
to   the  various  schools  of  neglected   engravers  will 


10  PREFACE 

prove  of  assistance  to  collectors  who  love  engraving 
for  its  own  sake. 

It  is  not  easy  to  collect  without  capital,  nor  is  it 
easy  to  collect  wisely  with  capital.  In  the  former 
case,  where  prices  are  of  little  moment,  the  pleasure 
to  be  derived  is  greater  than  in  the  latter  where  a 
shifting  market  brings  heartaches  and  disappoint- 
ment. 

I  have  to  acknowledge  my  indebtedness  to  the 
courtesy  of  Messrs.  George  Routledge  and  Sons  for 
their  kind  permission  to  include  an  illustration  of  a 
wood  engraving,  The  Dipping  Place^  after  Birket 
Foster,  which  appeared  in  one  of  the  renowned 
fine  art  series  of  volumes  issued  by  them  in  the 
"Sixties."  To  Messrs.  Ward,  Lock  &  Co.  I  am 
similarly  indebted  for  kind  permission  to  reproduce 
two  illustrations,  one  from  their  celebrated  edition 
of  "The  Arabian  Nights,"  containing  some  of  the 
finest  work  in  design  and  in  wood  engraving  of  that 
period,  and  the  other  from  "  Goldsmith's  Works " 
(1865),  illuminated  with  a  hundred  masterly  illustra- 
tions after  G.  J.  Pinwell. 

To  Messrs.  Smith,  Elder  &  Co.  I  desire  to  record 
my  obligation  for  their  courtesy  in  permitting  the 
use  of  two  fine  illustrations — The  Great  God  Pan^ 
from  a  design  by  Lord  Leighton,  and  Cleopatra^ 
from  a  design  by  F.  Sandys,  published  in  the 
Cornhill  Magazine^  which  has  continued  since  the 
days  when  Thackeray  edited  the  first  number  in 
i860  to  the  present  day  to  hold  a  place  of  honour 
among  English  magazines. 

To  the   proprietors  of  Good   WordSy  with   which 


PREFACE  II 

the  Sunday  Magazine  is  now  incorporated,  I  am, 
by  kind  permission,  reproducing  two  illustrations — 
one  after  F.  Sandys,  Until  Her  Death,  and  the 
other  The  Withered  Flower,  which  appeared  in 
the  pages  of  these  well-known  journals,  now  taking 
a  new  lease  of  life  under  the  present  management. 

From  the  pages  of  the  Graphic  I  am  reproducing 
a  specimen  of  wood  engraving  by  permission  of  the 
proprietors,  and  similarly  the  same  privilege  has  been 
accorded  to  me  by  Messrs.  Cassell  &  Co.  in  regard 
to  an  illustration  which  appeared  in  the  Magazine 
of  Art. 

To  those  of  my  friends  who  have,  over  an  extended 
period,  generously  lent  me  their  aid  in  prosecuting 
researches  into  the  technique  of  engraving  and  into 
the  byeways  of  the  subject,  and  have  encouraged  me 
and  stimulated  my  labours  over  a  wide  area,  I  tender 
my  grateful  acknowledgment  of  full  indebtedness  and 
appreciation. 

ARTHUR   HAYDEN. 

Septetnber,  1906. 


CONTENTS 


PAGE 

PREFACE              .                 .  .                 .                .                 .7 

LIST   OF   ILLUSTRATIONS       .  .                .                .               15 

BIBLIOGRAPHY   .                 .  .                 .                 .                 .21 

GLOSSARY   OF   TERMS   USED  .                 .                 .               29 

CHAPTER 
I.         HOW  TO  COLLECT.      A  CHAPTER  FOR  BEGINNERS   .       33 

(With  a  Series  of  Illustrations  showing  how  Prints  may  be 
identified) 

•IL       ETCHING  .  .  .  .  .  57 

III.  WOOD   ENGRAVING  .  .  .  .79 

IV.  WOOD    ENGRAVING.      THE    VICTORIAN     FACSIMILE 

SCHOOL   .....  93 

(With  a  Detailed  List  of  what  is  best  to  collect  of  the  Wood 
Engravings  of  the  period,  and  references  to  old  magazines,  and 
fine  examples  enumerated) 

V.  MODERN    WOOD   ENGRAVING  .  .  .    II9 

VI.  LINE    ENGRAVING.      THE   EARLY   MASTERS         .  1 37 

VII.  LINE  ENGRAVING.  SEVENTEENTH-CENTURY 

FRENCH    SCHOOL  .  .  .  '153 

»3 


14  CONTENTS 

CHAPTER  PAGE 

VIII.      LINE    ENGRAVING.      EIGHTEENTH    CENTURY  .    1 67 

(With  Bibliography  of  Illustrated  Volumes  procurable  at  a  small 
cost,  with  prices) 

IX.  STIPPLE   ENGRAVING  .  .  .  1 87 

X.  STEEL   ENGRAVING  .  .  .  •    205 

XI.  THE   LINE   ENGRAVERS   AFTER   TURNER  .  219 

(With  Bibliography  of  the  principal  engraved  work  after  Turner, 
with  prices) 

XII.  MEZZOTINT   ENGRAVING  .  .  .  .237 

XIII.  AQUATINT   AND   COLOUR   PRINTS         .  .  255 

XIV.  LITHOGRAPHY       .  .  .  .  .273 


TABLE   OF   ENGRAVERS  .  .  .  287 

(Containing  a  List  of  over  350  British  Engravers  together  with 
the  leading  Foreign  Engravers.) 


INDEX      ......    301 


LIST   OF   ILLUSTRATIONS 


Frontispiece. 

Simplicity,  from  an  engraving  by  Bartolozzi,  after  the 
picture  by  Sir  Joshua  Reynolds,  printed  in  colour. 


Chapter  I.— How  to  Collect.  facing 

PAGE 

Early  Etching  (Hollar)  Modern  French  Etching 
(A.  Queyroy)  (74) 36 

Woodcut,  after  Holbein  (82)  Woodcut,  after  Durer  (80)  38 

Wood  engraving  (Dalziel)  (104)  Wood  engraving  (H. 
Uhlrich)  (122)  .....  40 

Copper  engraving  (A.  Masson)  (160)  Steel  engraving  (T. 
Higham),  after  Turner  (222)  .  .  .  .42 

Stipple  engraving  (Caroline  Watson)  (198)  Stipple  en- 
graving (W.  Ridley)  (198)        ....  46 

Mezzotint  (P.  Pelham)  (242)  Mezzotint  (David  Lucas)  (250)    50 

Aquatint,  after  Dibdin,  by  John  Hill  (262)  Lithograph 
(Allonge)  (284) 54 

All  the  above  (with  the  exception  of  etching  by  Hollar)  are  enlarge- 
ments of  small  portions  of  old  prints,  illustrations  of  which  are 
given  in  their  entirety  in  this  volume.  The  figures  in  parentheses 
after  each  denote  the  page  opposite  which  the  complete  subject  is 
to  be  found. 


Chapter  IL— Etching. 

Portrait  of  Charles  I.,  by  Hollar.    Portrait  after  Holbein, 
by  Hollar      .  .  .  .  .  .  .60 

Etching  from  set  of  "  Five  Deaths,"  by  Stefano  della  Bella    62 
15 


1 6  LIST  OF  ILLUSTRATIONS 

Chapter  II.— Etching  {continued),  facing 

PAGE 

S^.  Peter,  from  an  etching  by  Callot  .  .  .  .64 
Four  subjects  etched  by  Simon  Guillain,  from  Caracci's 

"  Cries  of  Bologna " .            .            .            .  .  .68 

The  Angler^  from  an  etching  by  Ostade         .  .  -70 

Les    Environs    de    Southampton,    from    an  etching  by 

Gaucherel,  after  Dupre       .            .           .  .  -72 

A  Mestras,  from  an  etching  by  A.  Queyroy   .  .  -74 


Chapter  III. — Wood  Engraving. 

Samson  Slaying  the  Lion,  from  a  woodcut  after  Durer  .  80 
Two  woodcuts  by  Liitzelburger,  from  Holbein's  "  Dance 

of  Death"    .        .  .  .  .  .  .82 

Venus  and  Cupid,  after  a  woodcut  by  Jost  Amman  .  .    84 

Illustration  of  Woodblock  by  Bewick,  and  wood  engraving 

from  same     .  .  .  .  .  .  .86 

Two  fable  subjects,  from  wood  engraving  by  Bewick,  and 

copper  engraving  by  Cause  .  .  .  .88 


Chapter  IV.— Wood   Engraving.     The    Victorian    Fac 
SIMILE  School. 

The  Dipping  Place,  from  a  wood  engraving,  by  Dalziel 

after  Birket  Foster   .  .  .  ,  .  -94 

Cleopatra,    from    a    wood    engraving    by    Dalziel,    after 

F.  Sandys      .  .  .  .  .  .  .98 

Until  her  Death,  from    a   wood  engraving    by   Dalziel 

after  F.  Sandys         ......  100 

The   Dervise,  from  a  wood  engraving  by  Dalziel,  after 

A.  Boyd  Houghton  ......  104 

The  Withered  Flower,  from  a  wood  engraving  by  Dalziel 

after  A.  Boyd  Houghton  .....  106 
Madam  Blaize,  from  a  wood  engraving  by  Dalziel,  after 

G.  J.  Pinwell  .  .  .  .  .  .108 

The  Great  God  Pan,  from  a  wood  engraving  by  Dalziel 

after  Leighton  .  .  .  .  .no 


LIST  OF  ILLUSTRATIONS  1 7 

Chapter  V.— Modern  Wood  Engraving.  tAciNo 

PAGE 

Portrait  of  a  Lady,  from  a  wood  engraving  by  H.  Uhlrich, 
after  Henri  Levy       .  .  .  .  .  .122 

The  Knitter  (La  Tricoteuse),  from  a  wood  engraving  by 
Jonnard,  after  Millet  .  .  .  .  .124 

Jacqueline  de  Caestre,  from  a  wood  engraving  by  T.  Cole, 
after  Rubens  .  .  .  .  .  .132 


Chapter  VI.— Line  Engraving.    The  Early  Masters. 

Faith  and  Temperance,  from  line  engravings    by  Marc 

Antonio,  after  Raphael         .  .  .  .  .138 

Madonna  and  Child,  from  a  line  engraving  by  Diirer  .  140 
Portrait  of  Vandyck,  from  a  line  engraving  by  Vorsterman, 

after  Vandyck  ......  142 

Sir  Walter  Raleigh,  from  a   line  engraving   by   Simon 

de  Passe        .......  144 

Sir  Francis  Bacon,  from  a  line  engraving  by  Simon  de  Passe  146 
Sir  Thomas  Fairfax,  from  a  line  engraving  by  William 

Faithorne  the  Elder  .  .  .  .  .148 

Chapter  VIL— Line  Engraving.      Seventeenth-Century 
French  School. 

Le  Grand  Turenne  dans  sa  jeunesse,  from  an  engraving 

by  Nanteuil  .......  154 

Cardinal  Richelieu,  from  an  engraving  by  Nanteuil  .  156 

The  Prince  de  Conde,  from  an  engraving  by  Pierre  Simon  .  158 

Pierre  Dupuis,  from  an  engraving  by  Antoine  Masson        .  160 

Chapter  VI IL— Line  Engraving.    Eighteenth  Century. 

The  Bell,  from  an  engraving  by  Fittler,  after  Morland        .  170 
The  Embarkment,  from  an    engraving    by    Picot,    after 
Loutherbourg  ......  172 

Southwark  Fair  (portion  of),  from  an  engraving  by  Hogarth  174 
A  View  in  Florence,  from  an  engraving  by  Muller  .  .178 

2 


1 8  LIST  OF  ILLUSTRATIONS 

Chapter  VIII.— Line  Engraving  {continued).  facing 

PAGE 

Portrait  of  Laurence  Sterne     .....  i8o 
Illustration    to    ^^ Invisible  Spy"   from  an  engraving  by 
Neagle  .  .  .  .  .  .  .182 


Chapter  IX.— Stipple  Engraving. 

i/^aoJ  t)/ a  Soy,  from  a  chalk  engraving         .  .  .  188 

Mrs.  Wilbraham,  from  an  engraving  by  Thomas  Watson, 

after  Gardner  ......  192 

Medallion  of  Hayley,  from  an  engraving  by  W.  Blake. 

Cleopatra,  from  an  engraving  by  C.  Heath  .  .  196 

Portrait  of  Dryden  (Caroline  Watson),  Princess  of  Wales 

(W.  Ridley),  and  The  Sisters  .  .  .  .198 

Chapter  X.— Steel  Engraving.    Nineteenth  Century. 

The  Widowed  Bride.    Four  illustrations  from  engraver's 

proofs  by  Edwards  ......  206 

Portrait  of  Henrietta  Maria,  from  an  engraving  by  Kyall, 

after  Vandyck  ......  208 

The  Cavalier.    Two  states  from  engraver's  proofs  by  C. 

Heath,  after  Vandyck  .....  210 

Embarkation    of  St.    Ursula    (trial,    state).     Venice,  after 

Caneletto,  by  Le  Keux         .  .  .  .  .212 

Psyche,  engraved  by  Greatbach,  after  Beechey.    Cromer, 

by  Finden,  after  Creswick  .  .  .  .  .214 

Chapter  XL— The  Line  Engravers  after  Turner. 

View   of  Rouen    (R.    Brandard).     Rouen    Cathedral    (T. 
Higham)        .  .  .  .  .  .  .222 

Amboise  (W.  R.  Smith).    Mantes  (W.  Radclyffe)     .  .  224 

Carlisle  (Edward  Goodall).    Melrose  (William  Miller)         .  226 
Stranded  Vessel  of  Yarmouth  (R.  Brandard).    St.  Michael's 
.    Mount  (J.  Cousen)    ......  228 

Crossing  the  Brook  (W.  Richardson)  .  .  .  230 

Venice  (R.  Brandard).     Venice  (T.  A.  Prior)  .  .  232 


LIST  OP  ILLUSTRATIONS  I9 

Chapter  XII.— Mezzotint  Engraving.  facikg 

PAGE 

The  Windmill^  showing  two  states  of  plate  .  .  .  238 

The  Jolly  Topers  (Gerard  Dou),  from  mezzotint  by  J.  Smith  240 
Baron  Wilmington^  from  mezzotint  by  P.  Pelham   .  .  242 

Richard  Boyle,  from  mezzotint  by  Faber.    Addison^  from 

mezzotint  by  J.  Smith  .....  244 

Distant  View  of  Rome  from  Tivoli  (Poussin).    Morning  (after 

Wilson),  from  mezzotints  by  S.  W.  Reynolds       .  .  248 

Spring  and  Noon  (Constable),  from  mezzotints  by  David 

Lucas  .......  250 

Chapter  XIII.— Aquatint  and  Colour  Prints. 

Figures  (afterWheatley),  byj.  Hassall ;  Landscape  {WdiVlQy), 

from  aquatint  by  F.  C.  Lewis        ....  258 
Four  subjects  from  aquatints  by  C.  Metz  after  Parmegiano  260 
Marsden    (Yorkshire)  ;    The    Wrekin    (Shropshire),    from 
aquatints  by  J.  Hill,  after  Dibdin  .  .  .  262 

Chapter  XIV.— Lithography. 

Rouen    (J.     D.     Harding),    from    a    lithograph    by    C. 

Hullmandel  ......  276 

Portrait  of  Caspar  de  Crayer  (Vandyck),  from  a  lithograph 

by  H.  C.  Selous      .  .  .  .  .  .280 

Unc  Riviere,  from  an  original  lithograph  by  Allonge  .  284 


BIBLIOGRAPHY 


GENERAL 

Bryan's   Dictionary  of  Painters   and    Engravers.     5  vols. 

Illustrated,  21s.  each  net.     (Geo.  Bell  &  Sons.) 
Engravings  and  their  Value.     By  J.  H.  Slater.     Third  Edition. 
15s.     (Upcott  Gill.)     (Indispensable  for  reference  as  to  prices  of 
prints  of  all  schools). 
Auction  Sale  Prices.    Published  quarterly.     2s.  6d.  net.    Supple- 
ment to  Connoisseur^  95,  Temple  Chambers,  E.G. 

(This  gives  the  prices  of  all  engravings  from  £i  upwards  sold  at 
auction  and  is  invaluable  as  a  record  of  current  market  values.) 

Le  Peintre-Graveur.    ByA.  Bartsch.    21  vols.    Vienna,  1 803-1 821. 
Le  Peintre-Graveur.      By  J.   D.  Passavant.     6  vols.      Leipsic, 

1860-64.     (Continuation  of  Bartsch's  work.) 
Le  Peintre-Graveur  Fran^ais.    By  Robert- Dumesnil.     11  vols. 

Paris,  1835-74. 
Kunstler-Lexicon.     By  Dr.   G.   K.  Nagler.     22  vols.      Munich, 

1835-52. 
Die  Monogrammisten.    By  Dr.  G.  K.  Nagler.    5  vols.     Munich, 

1858-79. 
Manuel  de  I'Amateur  d'Estampes.    By  Le  Blanc.    4  vols.     Paris, 

1854-89. 

The  Graphic  Arts.    By  P.  G.  Hamerton.    (Seeley.)     1882. 

Introduction  to  the  Study  and  Collection  of  Ancient  Prints.  By 
W.  H.  Wilshire.     2  vols.     1877. 

The  Print  Collectors'  Handbook.  By  Alfred  Whitman.    15s.  net. 

Collectors'  Marks.    By  Louis  Fagan.     1883. 

The  Print  Gallery.  Reproductions  of  the  Masterpieces  of  En- 
graving from  the  end  of  XVth  to  beginning  of  XlXth  Century. 
5  vols.    480  plates.    ;^3  15s.     (Grevel  &  Co.) 

Ariadne  Florentina.    By  John  Ruskin. 

Early  History  of  Engraving.    By  W.  Y.  Ottley.    2  vols.     1816. 

English  Illustrated  Books.  By  Martin  Hardie.  25s.  net. 
(Methuen.)    1906. 


22  BIBLIOGRAPHY 

History  of  Engraving  in  France.      By  M.   Georges  Duplesis 

(Keeper  of  Prints,  National  Library,  Paris). 
Bibliography   of   XVIIIth  Century  Art   and    Illustrated 

Books.     ByJ.  Lewine.    ;,{^3  3s.  net.     (Sampson  Low.)     1898. 
History  of   Engraving   in   England.     By   Louis  Fagan.     Pub- 
lished at  £^^  net. 
Sport,  Old  Time,  as  Illustrated  in  Books.      Connoisseur,  Vol.  VIII, 

86  ;  Vol.  IX.  77. 
Satirical  Prints  in  British  Museum,  Catalogue  of.     F.  G.  Stephens 
P2NGRAVING  AND  ETCHING.     By  Dr.  Lippmann  (translated  by  Martin 

Hardie).     los.  6d.  net.     1906. 
Portraits.    Catalogue  of  British  Engraved  Portraits  to  1793.     By 

Henry  Bromley. 
Portraits.      Catalogue    of   30,000    Engraved    Portraits.      Edward 

Evans,     i860.     2  vols.     £2  second-hand. 
Portraits   (Mezzotint).     British  Mezzotint  Portraits.     By  Chaloner 

Smith. 
Portraits  of  Queen  Elizabeth,  Classified  Catalogue  of.     By  F.  M. 

O'Donoghue.     (Quaritch.)     1894. 
English  Engraved   Portraits  of   17th    Century.      Connoisseur^ 

Vol.  in.  p.  II. 

France.    Nineteenth  Century.    Les  chefs  (fmcvres  de  Part  au  XIX'. 
siccle.    Paris,  1890.     Vol,  5.     By  Louis  Gonse. 

PARTICULAR 

ETCHING 

The  Etcher's  Handbook.    By  P.  G.  Hamerton.     1871. 

A  Treatise  on  Etching,    By  Maxime  Lalanne.     1880,    (Estes  & 

Lauriat.)     Boston.     Translation  of  Traite  de  la  gravure  a  teau 

forte.     By  Lalanne,     Paris,  1878.     (Cadart.) 
Etching  and  Etchers.    By  P.  G.  Hamerton.     3rd  Edition.     (Mac- 

millan.)     1880. 
About  Etching.     By  Sir  F.  Seymour  Haden.     1879. 
Etching   in   England,    By  F,   Wedmore,    With  50  Illustrations. 

1895,     (Bell  &  Sons.) 
Etching,  Engraving,  and  other  Methods  of  Printing  Pictures.     By 

William  Strong  and  Dr.  Singer.     15s.  net.     (Kegan  Paul.)     1898. 
Etching  and  Mezzotint.     By  H.  Herkomer.    (Macmillan.)     1892. 
Hollar  (Wenceslaus),  Description  of  the  Works  of,  Divided  into 

Classes,     G.  Vertue.     1745. 
Hollar  (Wenceslaus),  Selection  from  his  Work.     (Burlington  Fine 

Arts  Club  Exhibition  Catalogue.)     1875. 


BIBLIOGRAPHY  23 

Callot.      a  Catalogue    and    Description   of  Works  of.     By  J.  H. 

Green.     1804. 
Callot.     Recherches  stir  la   Vie  et  les  Ouvrages   de  Jacques  Callot, 

par  Edouard  Meaume.     2  parts  in    i   vol.   8vo.     Facsimiles   of 

Watermarks.     25s.  second-hand.     Paris,  i860. 
Rembrandt,  His  Life  and  Work.      By  E.   Michel,  Edited  by 

F.  Wedmore.     1894. 
Rembrandt,  the  Etched  Work  of.    By  Sir  F.  Seymour  Haden.    1879. 
the    Etchings    of.      By    P.   G.    Hamerton.      Portfolio 

Monograph.     (Seeley.) 
Rembrandt,  Etchings  of.     Connoisseur,  Vol.  V.  p.  245. 
Rembrandt's  Etchings,   Imitations    of.     By  Benjamin  Wilson. 

Connoisseur,  Vol.  VII.  124. 
V.\NDYCK.     Pictorial  Notices,  with  Catalogue  of  Etchings  executed 

by  him.     By  W.  H.  Carpenter.     London,  1844. 
Dutch  Etchers  of  the  Seventeenth  Century.    By  Laurence  Binyon. 

Portfolio  Monograph.     (Messrs.  Seeley.)     1905. 
Meryon  and  Meryon's  "Paris."     By  Frederick  Wedmore.     2nd 

Edition.     1892. 
Meryon,  Etchings  of.     Connoisseur,  Vol.  V.  p.  24. 
Palmer  (Samuel)  Life  and  Letters  of.     By  A.  H.  Palmer.     London, 

1891. 
Whistler's  Etchings.     A  Study  and  a  Catalogue.    By  F.  Wedmore. 

1886. 
Sir  Francis  Seymour  Haden,  Catalogue  of  Etched  Work  of.    Sir 

W.  R.  Drake.     1880. 
French  Revival  of  Etching.     (Burlington  Fine  Arts  Club  Exhibition 

Catalogue.)     1891. 
Whistler  and  Others.    By  Frederick  Wedmore.    (Pitman  &  Sons.) 

1906. 

WOOD    ENGRAVING 

The  Masters  of  Wood  Engraving.     By  W.  J.  Linton.    ;^io  los. 
net. 

(Nearly  200  Illustrations  mostly  on  India  paper.) 

History  of  Wood  Engraving.      By  Jackson  and  Chatto.     £\ 

second-hand.     1866. 
Italian  Wood  Engraving   in   the  XVth   Century.    By  Dr. 

Lippmann.     25s. 
Rare  Old  Book-Plates  of  15th  and  i6th  Centuries.     (100  Plates 

after  Diirer,  Burgkmair,  H.  S.  Beham,  Jost  Amman,  &c.)     Edited 

by  F.  Warnecke.    ;,^i  8s.     (Grevel  &  Co.) 


24  BIBLIOGRAPHY 

Albert  Durer,  The  Little  Passion  of.     By  Austin  Dobson.     (Bell  & 

Sons.) 
Holbein's  Dance  of  Death.   With  Introduction  by  F.  W.  P'airholt. 

1849. 
Early  German  Woodcuts.     Burlington  Fine  Arts  Club  Exhibition 

Catalogue,  1882. 
Bewick,  Thomas,  and  his  School.     Full  account  in  Jackson  & 

Chatto's  "History  of  Wood  Engraving." 
Bewick,  Thomas,  Catalogue  of  the  Bewick  Collection  (Pease  Bequest), 

Newcastle-on-Tyne   Public    Libraries.      By   Basil   Anderton   and 

W.  H.  Gibson. 

WOOD    ENGRAVING-VICTORIA    FACSIMILE    SCHOOL 

English  Illustration  (1857-70).      By  Gleeson- White.      100  Illus 

trations.     (Constable  &  Co.)     1896. 
Dalziel  Brothers.      A  Record  of  Fifty  Years'  Work  (1840-90) 

With  150  illustrations.     1901. 
A  Golden  Decade  in  English  Art.     By  Joseph  Pennell.     Savoy 

Vol.  I.     1896. 
Tennyson  and  His  Pre-Raphaelite  Illustrators.    By  G.  S 

Layard.     7s.  6d. 
Frederick    Sandys.      Winter     number     of    Artist^     1896,     rare 

los.  6d. 

(The  fullest  account  of  his  work.) 

Frederick  Sandys.     Obituary  Notice  of  Athenmim^  July  2,  1904 

Art  Journal,   1884.     Hobby  Horse,   1888-92. 
Arthur  Boyd  Houghton.     A  Selection  from  his  Work.     Printed 

from  the  original  Wood-blocks,  by  Laurence  Housman.     (Kegan 

Paul,  Trench,  Triibner  &  Co.)     1896. 
George  J.  Pinwell  and  his  Works.     By  Dr.    G.  C.  Williamson. 

(Bell  &  Sons.)     1900. 
Frederick  Walker,  Life  and  Letters  of.    With  100  Illustrations  from 

Good  Words,   Cornhill,  Once  a   Week,  &c.,  engraved  by  Dalziel. 

By  John  George  Marks.    (Macmillan.)     1S96. 
Frederick  Walker.     By  Claude   Phillips.     Portfolio  Monograph. 

(Seeley  &  Co.) 
Frederick  Walker.     Portfolio,  1875,  P-  ii7'  L'Art,  1876.   I.  175  ; 

II.  130.     By  J.  Comyns  Carr. 
Frederick  Walker,   The  Works   of.     By  James   Dafforne.     Art 

Journal,  1876,  p.  297. 
Menzel  (Adolph).    His  Illustrations  to  "  Frederick  the  Great."    Art 

Journal,  May,  1882,  November,  1883.     Gazette  des  Beaux  Arts, 

1882.     I.  596. 


BIBLIOGRAPHY  25 

MiLLAis  (J.  E.)     Illustrations.    A  Collection  of  Drawings  on  Wood. 

80  Wood  Engravings  by  the  Dalziels,  Swain,  &c.     4to.     1866. 

17s.  6d.  second-hand. 
MiLLAis  (J.   E.)     "Cornhill   Gallery."     100   Wood   Engravings  by 

Millais,    F.    Sandys,    G.    Du    Maurier,    and    F.   Walker.      4to. 

(Smith,  Elder.)     1865.     i8s.  6d.  second-hand. 
Charles  Keene,   Life  and    Letters  of.     By  G.  S.  Layard.     24s. 

(Sampson  Low.) 
Charles  Keene.    Gazette  des  Beaux  Arts,  1891.     I.  327. 
Leighton,   Portfolio,  i%yo,^.  161.   Romola,hy  Geo. 'EWoi.     Edition- 

de-luxe,  with  illustrations  by  Leighton.     2  vols.     1880. 

MODERN    WOOD    ENGRAVING 

Timothy  Cole.  Old  English  Masters,  with  historical  notes  by  J.  C. 
Van  Dyke.     1902. 

Timothy  Cole.  Old  Dutch  and  Flemish  Masters,  with  historical 
notes  by  J.  C.  Van  Dyke.     £2  2s.     (Fisher  Unwin.) 

Walter  Crane,  The  Art  of.     By  P.  G.  Konody. 

Augusts  Lepere.  '*  A  French  Wood  Engraver."  By  Gabriel  Morey. 
Studio,  December,  1897. 

American  Wood  Engraving.  La  Gravure  sur  bois  en  Amerique 
VArt,  1881,  L  3,  II. 

Modern  Aspect  of  Wood  Engraving.  By  Charles  Hiatt.  Repre- 
sentative Art  of  Our  Time.     Published  at  Studio  Offices,  1903. 

LINE    ENGRAVING 

Marc  Antonio  Raimondi,  Works  of.  With  Chronological  Survey 
by  R.  Fisher.     (Burlington  Fine  Arts  Club  Catalogue.)     1868. 

Albert  Durer,  Engravings  of.  By  Lionel  Cust.  Portfolio  Mono- 
graph Series.     (Seeley  &  Co.) 

Strange  (Sir  Robert),  Engraver.     Connoisseur,  Vol.  XL  149. 

Hogarth  (William).     By  Austin  Dobson  and  Sir  W.  Armstrong. 

By  Austin  Dobson.     (Great  Artists'   Series.) 

1879. 
Hogarth  (William),  Genuine  Works  of.    By  Nichols  &  Steevens. 

3  vols.    4to.     1808. 
Hogarth  (William).     See  F.  G.  Stephens's  Catalogue  of  Satirical 

Prints  in  British  Museum. 
W.    W.    Ryland,    List   of    Engravings    of.      By    Ruth    Bleackley. 

Connoisseur,    June,     1905,     November,     1905.      From     "Some 

Distinguished  Victims  of  the  Scaffold."     By  Horace  Bleackley. 

(Kegan  Paul.)     1905. 


26  BIBLIOGRAPHY 

LINE    ENGRAVING— FRENCH    SCHOOL 

Watteau  (Antoine).     Catalogue  raisonnc  de  Vceuvre  peint^  dessinc  et 

grave  d' Watteau.     By  Edmond  de  Goncourt.     Paris,   1 875" 
French  Engravers  and  Draughtsmen  of  i8th  Century.     By  Lady 

Dilke. 
MOREAU.    Vceuvre    de    Moreau    k   Jeune.     By  J.    F.    Maherault. 

Paris,   1 880. 
Moreau  le  jeune.     By  Emanuel  Bocher.     Paris.     1882. 
Paine  et  Moreau  le  kune.      '■'■  Les  Moreaus,^^  in  Les  artistes 

celebres  series. 

LINE    ENGRAVING-NINETEENTH    CENTURY 

Turner  (J.  M.  W.).     Engravings  of,  Illustrative  of  his  Drawings. 

(Burlington  Fine  Arts  Club  Catalogue.)     1886. 
Turner  (J.  M.  W.).     Notes  on  his  Collection  of  Drawings  by  Turner, 

and  list  of  the  Engraved  Works  of  that  Master.     By  John  Ruskin. 

1878. 

MEZZOTINT 

Mezzotint  (Etching  and   Mezzotint).     By.    H.   Herkomer.     (Mac- 

millan.)     1892. 
Mezzotint.      Etching,     Drypoint,     Mezzotint.      By    Hugh    Paton. 

(Raithby,  Lawrence  &  Co.) 
British  Mezzotint  Portraits.      By  Chaloner  Smith.      (Sotheran 

&  Co.)     1878. 
English    Mezzotint    Portraits    (i 750-1 830).      Introduction   by 

W.   G.   Rawlinson.      (Burlington    Fine    Arts    Club    Catalogue.) 

1902. 
Engravings    in    Mezzotint.     Introduction    by   Julian    Marshall. 

(Burlington  Fine  Arts  Club  Catalogue.)     1881. 
Masters  of  Mezzotint,  the  Men  and  their  Work.     By  A.  Whitman. 

£1  2s.  net.     (Bell  &  Sons.)     1898. 
Reynolds  (Sir  Joshua),  A  Catalogue  of  the  Engraved  Works  of 

(1755-1820).     By  E.  Hamilton.     1874. 
Reynolds  (Sir  Joshua)  History  of  Works  of.     By  Algernon  Graves 

and  W.  V.  Cronin.     4  vols.     (Published  by  H.  Graves  &  Co.) 
Humorous   Mezzotints.     Connoisseur^   Vol.    VII.    187 ;    Vol.   X. 

177. 
Mezzotints,  Lord  Cheylesmore's  Collection  of.      Connoisseur 

Vol.  II.  3. 
McArdell  (James),  Works  of.     (Burlington  Fine  Arts  Club  Cata- 
logue.)    1886. 


BIBLIOGRAPHY  2^ 

Valentine  Green.    By  Alfred  Whitman.    (A.  H.  Bullen,  London.) 

1902. 
Richard  Earlom,   List  of  Engravings  by.     Art  Journal^  August, 

1886. 
S.  W.   Reynolds.     ("Nineteenth-Century   Mezzotinters.")      By  A. 

Whitman.     (Bell  &  Sons.)     1903. 
Samuel  Cousins.     ("  Nineteenth- Century  Mezzotinters.")      By  A. 

Wliitman.     (Bell  &  Sons.)     1904. 
Liber  Studiorum  of   Turner.     (Burlington   Fine  Arts   Exhibition 

Catalogue.)     1872. 
The  Liber  Studiorum  of  Turner,     (Newnes.)     los.  6d.  w^/. 
Constable  (John).     English  Landscape  Scenery.    A   series  of  40 

Mezzotint     Engravings     in     Steel     by    David    Lucas.      1855. 

£2.    IDS. 

Constable   (John).      Memoirs    and    Letters    by   Leslie.      Portrait 

and  22  mezzotint  plates.     1843.     £'^  2s.  second-hand. 
Constable  (John),  Mezzotints  after.     Connoisseur^  Vol.  XL  3. 

COLOUR    PRINTS 

Eighteenth-Century  Colour  Prints.    By  Julia  Frankau.     (Mac- 

millan.)     ;i^8  8s.  net. 
Art  of  Chromolithography.    By  G.  A.  Audsley.     1883. 

(A  magnificent  series  of  plates  showing  tlie  design  on  each  stone 
and  the  effects  of  each  successive  printing.) 

Colour  Prints  in  Stipple  and  Mezzotint.     Connoisseur^  Vol.  I.  19. 

The  Collecting  of  Colour  Prints.  By  Martin  Ilardie.  Queen, 
Nov.  12,  1904. 

Emma,  Lady  Hamilton.  A  Biography  with  Catalogue  of  her  Pub- 
lished Portraits.  By  J.  T.  Herbert  Baily.  (W.  G.  Menzies,  7, 
Temple  Chambers,  E.C.)     ids.  6d.  net.     1905. 

Morland  (George),  the  Engravings  of.     Connoisseur,  Vol.  IX.  199. 

Life  and  Works  of.     By  Dr.  G.  C.  Williamson. 

Life  of.     By  G.  Dawe. 

Rov\^landson  (Thomas).  A  Selection  from  his  Works.  2  vols. 
400  illustrations.     By  Joseph  Grego.     London,  1880. 

RowLANDSON  (Thomas).     Connoisseur^  Vol.  IL  42. 

Caricature  History  of  the  Georges.    By  Thomas  Wright.   1867. 

GiLLRAY,  James,  the  Works  of.  By  Thomas  Wright.  400  illus- 
trations.    1874. 

GiLLRAY  (James).     Connoisseur,  Vol.  HL  24. 

Bunbury  (Henry),  Caricaturist.     Connoisseur,  Vol.  VI.  85,  156. 

Baxter  Prints.    Queen,  Sept.  9,  1905. 


28  BIBLIOGRAPHY 

AQUATINT 

Art  of  Engraving.    By  T.  H.  Fielding.    1844. 

(A  chapter  on  Aquatint  gives  full  details  with  illustrations  of 
aquatint  grounds.) 
The  Daniells  and  the  Havells.     "  Coloured  Aquatint  Plates." 
By  Martin  Hardie.     Qiieen^  September  23,  1905. 

LITHOGRAPHY 

Lithography  and  Lithographers.    By  J.   Pennell  and  E.  R. 

Pennell.     (Fisher  Unwin.)     1898. 
Chromolithography,  Art  of.     By  G.  A.  Audsley.     1883. 

(A  fine  series  of  plates  showing  the  design  on  each  stone  and  the 

effects  of  each  successive  printing.) 

Grammar  of  Lithography.     By  W.  D.  Richmond.     1878. 

(Full  practical  details  as  to  technique.) 
Whistler,  Catalogue  of  Lithographs  of.     By  T.  R.  Way.     (Bell  & 

Sons.)     1905. 
Gavarni,    Catalogue  raisonnc  de  Voauvre  de.     By  Armelhault  and 

Bocher.     Paris,  1873. 
French  Caricature.    Les  viaitres  de  la  caricature  au  XIX'.  sihcle. 

115  facsimiles  and  5  lithographs  in  colour.     By  Armand  Dayot. 

Paris,  1888. 
The  Lithographs  of  Turner.    By  T.  Bolt.     Connoisseur^  June, 

September  and  October,  1906. 
Modern  Aspect  of  Artistic  Lithography.     By  Joseph  Pennell, 

Representative  Art  of  Our  Time.     (Published  at  Studio  Offices.) 

1903. 


GLOSSARY 


Ad  Vivum. — Literally  frorn  the  life^  often  found  following  the  name  of 
engraver  in  portraits,  showing  that  the  work  has  been  done  from 
the  sitter  and  not  from  a  painting. 

After. — A  print  is  frequently  described  as  "after"  a  painter,  meaning 
that  the  engraver's  work  was  from  the  original  design  or  painting 
of  another,  e.g.^  "Viscountess  Spencer,  by  Thomas  Watson,  after 
Reynolds." 

Aquatint. — A  method  of  engraving,  or,  more  strictly,  "etching,"  in 
which  acid  is  employed  on  a  metal  plate  previously  covered  with 
resin  or  asphaltum.     Fully  described  in  Chapter  XIII. 

Artistes  Proofs. — The  first  impressions  taken  from  the  finished  plate, 
considered  as  entirely  satisfactory  by  both  engraver  and  painter. 
These  are  signed  by  both  painter  and  engraver. 

Before  Letters. — See  Proofs  before  Letters. 

Block. — In  wood  engraving  the  piece  of  box- wood  or  pear- wood  upon 
which  the  engraver  cuts  his  design. 

Burin. — See  Graven. 

Collector's  Mark. — A  stamp  marked  or  impressed  on  the  margin  of  a 
print  by  the  owner.  The  mark  of  a  well-known  connoisseur 
denotes  that  the  print  has,  in  his  judgment,  been  deemed  worthy 
of  his  cabinet. 

Cross-hatching. — A  term  applied  to  the  system  of  cutting  lines  crossing 
each  other.     It  is  rightly  employed  in  line  engraving,  but,  unless 
in  white  line,  it  is  false  in  wood  engraving. 
29 


30  GLOSSARY 

Delineavit. — Literally,  He  drew  it  (Latin).  After  artist's  name  in 
print,  showing  it  to  have  been  a  drawing  and  not  a  painting  from 
which  the  engraver  worked. 

Dry  Point. — The  sharp  needle  employed  in  etching,  when  used  on  the 
bare  copper,  executes  '*  dry  point "  work.  Etchings  are  frequently 
finished  by  dry  point. 

Engraver's  Proofs. — These  are  trial  or  working  proofs  taken  from  time 
to  time  by  the  artist  to  assist  him  in  determining  the  progress  of 
his  work. 

Etching. — Fully  described  in  Chapter  II. 

Etching  Needle. — The  tool  used  in  tracing  lines  upon  a  copper  plate 
through  the  "  ground  "  laid  in  etching. 

Execudit. — Literally,  He  did  it  (Latin).  Usually  follows  engraver's 
name  on  print,  and  is  used  sometimes  in  place  of  Sculpsit. 

Fecit. — Literally,  He  did  it  (Latin).  Used  instead  of  pinxit,  and 
usually  follows  artist's  name  on  print. 

Foxed. — This  is  a  term  applied  to  prints  with  spotted  stains  upon  them 
caused  by  the  iron  in  the  paper  being  affected  by  damp. 

Graver. — The  engraver's  tool,  called  also  the  Burin,  made  of  hard 
steel  and  having  an  edge  with  which  the  metal  is  ploughed  up,  or 
the  wood  block  cut. 

Ground. — The  preliminary  stages  in  preparing  a  plate  in  etching, 
mezzotint,  or  aquatint,  are  termed  "  laying  the  ground,"  after 
which  the  design  is  worked  upon  it. 

India  Paper. — Early  proof  impressions  are  often  printed  on  India 
paper,  which  gives  finer  results  than  ordinary  paper. 

India  Proof. — This  term  is  applied  to  early  impressions  printed  on 
India  paper. 

Japan  Paper. — Proof  impressions  are  often  printed  on  this  especially 
fine  paper  of  delicate  texture,  in  place  of  India  paper. 

Laid  Down. — Prints  which  are  "  laid  down  "  or  pasted  upon  paper  are, 
as  a  rule,  avoided  by  collectors,  as  in  the  process  of  doing  this  they 
are  usually  injured. 

Lettered  Proofs. — These  impressions  are  printed  next  after  Proofs  before 
Letters.  They  bear  the  title  of  the  subject,  as  well  as  name  of 
artist  and  engraver,  and  also  that  of  the  publisher. 


GLOSSARY  31 

Line  Engraving. — Fully  described  in  Chapter  VI. 

Lithograph. — This  is  an  impression  taken  from  a  stone  upon  which  a 
drawing  has  been  made  with  specially  prepared  ink.  Fully 
described  in  Chapter  XIV. 

Lozenge. — This  term  is  applied  to  the  interstices  between  lines  crossing 
each  other  at  various  angles  in  *'  cross-hatched"  work. 

Margin. — This  is  the  white  paper  as  a  framework  outside  the  engraved 
work  in  a  print.  Fastidious  collectors  lay  great  store  on  full 
margins,  and  admit  no  trimmed  examples  to  their  cabinets. 

Mezzotint. — Engraving  in  mezzotint  fully  described  in  Chapter  XII. 

Open  Letter  Proojs. — Sometimes  lettered  proofs  are  divided  into  two 
classes,  of  which  those  with  printed  title  in  opett  letter  are  the 
earlier,  after  which  follow  the  ordinary  thick  letter  proofs. 

Pinxit. — Literally,  He  painted  it  (Latin),  and  follows  painter's  name 
on  print. 

Print. — An  impression  taken  on  paper  from  an  engraved  plate.  The 
term  is  used  in  general  to  denote  all  impressions  after  the  lettered 
proofs. 

Proofs. — See  Artisfs  Proofs^  Remarque^  Signed  Proof  Lettered  Proof s^ 
Open  Letter  Proofs^  Engraver's  Proofs. 

Proofs  before  Letters. — Next  after  Artist's  Proofs  these  are  printed  from 
the  plate,  and  have  the  name  of  artist  and  engraver  printed  upon 
them  in  the  left  and  right  corners  respectively.  They  are  not 
signed  by  either  artist  or  engraver. 

Remarque. — A  small  design  etched  on  the  margin  of  the  plate  or  drawn 
on  artist's  proof  by  the  artist.  This  is  a  modern  fashion,  often 
done  in  order  to  enhance  the  value  of  proofs. 

Ruling  Machine. — A  modern  invention  to  lay  the  flat  tints  mechanically 
and  rule  parallel  lines  in  the  sky  and  elsewhere  with  exactitude. 
All  good  engraving  eschews  this  process. 

Sculpsit. — Literally,  He  engraved  it  (Latin).  Follows  engraver's  name 
on  a  print. 

Signed  Proofs. — These  are  the  Artist's  Proofs  issued  in  the  early  state 
and  signed  as  a  guarantee  that  the  engraver  held  these  to  be 
brilliant  impressions  of  his  work. 


32  GLOSSARY 

State. — This  term  is  applied  to  the  condition  of  a  plate  in  its  various 
stages.  Whenever  an  impression  is  taken  from  the  plate  these 
proofs  are  from  the  First,  Second,  Third,  and  Fourth  "State," 
and  so  on  according  to  the  alterations  and  additions  the  engraver 
may  choose  to  make. 

Steel  Engraving  and  Steel  Facing. — Fully  described  in  Chapter  X. 

Stipple. — Work  in  "stipple"  is  produced  by  a  skilful  arrangement  oi 
dots  pecked  into  the  metal  plate.  In  pure  stipple  work  no  lines 
are  employed,  but  stipple  is  frequently  used  in  conjunction  with 
line.     Fully  described  in  Chapter  IX. 

Stopping-Out. — A  process  in  etching  fully  described  in  chapter  on 
etching. 

Title. — The  printed  description  under  the  engraved  portion  of  a  print 
is  termed  the  "title."  In  various  "states"  the  lettering  of  the 
title  differs  in  minor  details,  and  affords  an  aid  to  the  collector  in 
identifying  various  "states." 

Tone. — This  term  in  engraving  is  used  in  contradistinction  to  "line." 
Engraving  in  tone,  as  in  mezzotint  or  aquatint,  may  exclude  the 
use  of  line. 

White  Line. — This  is  a  term  connected  with  wood  engraving.  Every 
cut  made  by  the  graver  on  a  wood  block  produces  a  white  line. 

Wood  Engraving. — Fully  described  in  Chapter  III. 


I 

HOW 

TO 

COLLECT 


CHATS   ON   OLD   PRINTS 


CHAPTER   I 

HOW  TO  COLLECT 

How  to  identify  the  various  classes  of  engraving — 
Reasons  for  collecting — How  the  eye  may  be 
trained — What  to  collect — Forgeries — Where  to 
collect — A  few  hints  as  to  prices. 

The  first  step  is  a  step  backwards,  and  the  beginner 
must  leave  the  illustrated  books  and  magazines  of 
to-day  and  turn  to  the  illustrated  volumes  of  the 
eighteenth  and  early  nineteenth  century  for  copper 
engraving  and  steel  engraving,  and  to  the  early 
numbers  of  the  Illustrated  London  News^  the  Graphic^ 
or  some  of  the  old  magazines  prior  to  1870 — 
Cornkill,  Good  Words,  Once  a  Week,  or  Punch — for 
wood  engraving.  It  is  here  that  he  will  find 
examples  of  engraving  to  educate  his  eye  which 
has  grown  accustomed  to  modern  process  work.  For 
the  present  purpose  we  shall  not  deal  with  the 
quality  of  the  engraving.     By  the  aid  of  the  illustra- 

35 


36  CHATS   ON  OLD  PRINTS 

tions  in  this  chapter  it  will  be  shown  how  each  class 
of  engraving  may  be  identified  by  the  beginner. 

Each  illustration  is  an  enlargement  of  a  small 
portion  of  an  old  print.  References  are  given  to  the 
print  from  which  each  is  taken.  The  reproductions 
here  given  practically  illustrate  the  characteristics  of 
each  type  of  engraving  when  put  under  a  magnifying 
glass. 

It  is  not  the  intention  of  the  writer  in  this  intro- 
ductory chapter  to  enter  into  the  technique  of  each 
class  of  engraving.  The  illustrations  are  now  dealt 
with  solely  with  a  view  of  showing  the  appearance 
they  present.  The  methods  by  which  the  engraver 
produced  these  results  is  described,  together  with 
illustrations  of  his  work  at  various  stages  as  it 
progressed  under  his  hand,  at  the  beginning  of 
Chapter  II.,  Etching  ;  Chapter  III.,  Wood  Engraving  ; 
Chapter  VI.,  Line  Engraving ;  Chapter  IX.,  Stipple 
Engraving ;  Chapter  XII.,  Mezzotint  Engraving ; 
Chapter  XIII.,  Aquatint;  and  Chapter  XIV., 
Lithography. 

It  should  be  here  stated  that  all  the  illustrations 
of  this  volume  are  reproduced  by  means  of  photo- 
graphic process,  and  it  will  not  be  helpful  to  the 
student  to  examine  these  under  a  glass  as  they  are 
not  old  prints,  but  obviously  only  reproductions  of 
old  prints.  By  the  interposition  of  a  screen  between 
the  original  print  and  the  camera  in  order  to  produce 
what  is  known  as  a  half-tone  block,  certain  lines  and 
dots  have  been  added  which  did  not  exist  in  the 
original  print.  The  illustrations  in  the  volume,  by 
reason   of   their    reduced    size,    unfortunately    only 


JBl/rl[.    jc^ 


ENLARGEMENT  of  portion  of  ETCHING,  by  Hollar. 

(Twice  the  scale  of  original  etching.) 


ENLARGEMENT  of  portion  of  ETCHING,  by  A.  Queyroy, 
which  appears  in  its  entirety  opposite  p.  74. 


ENLARGEMENTS  OF   ETCHINGS. 


[To  face  page  36. 


HOW   TO   COLLECT  37 

convey  a  faint  idea  of  the  appearance  of  the  originals. 
It  is  therefore  necessary  that  the  prints  themselves,  or 
similar  examples  of  the  same  class,  be  examined  under 
a  magnifying  glass  and  studied  by  the  beginner  with 
the  help  of  the  hints  conveyed  in  this  chapter,  and 
the  full  details  as  to  the  technique  at  the  beginning 
of  the  chapters  above  mentioned. 

The  writer  intends  the  seven  full-page  illustrations 
in  this  chapter  to  provide  a  key  to  enable  the 
youngest  collector  to  identify  the  appearance  of  a 
square  inch  of  an  old  print  under  a  magnifying  glass. 
In  order  to  master  the  rudiments  of  the  technique  of 
engraving,  the  student  should  provide  himself  with 
a  good  glass,  procurable  for  a  few  shillings,  such  as 
stamp  collectors  or  botanists  use,  an  ordinary  reading 
glass  is  hardly  of  sufficient  strength. 

The  order  in  which  these  enlargements  appear  is 
the  order  of  the  chapters  in  the  book.  The  first 
illustration  is  an  enlargement  of  a  portion  of  an 
etching  by  Hollar.  In  the  original  the  whole-length 
figure  of  the  lady  in  costume  of  the  period  of  1644 
is  only  3J  in.  high.  The  great  delicacy  of  Hollar's 
work  is  the  chief  point  for  consideration  by  the 
beginner.  Below  this  appears  an  illustration  of  a 
portion  of  an  etching  by  A.  Queyroy,  entitled  A 
Mestras^  which  appears  in  its  entirety  (opposite 
p.  74).  The  rough  network  of  lines  shows  the 
etcher's  work.  Ragged,  broken  lines  intersecting 
each  other,  sky-lines  irregular  and  informal,  and 
loops  and  scratches  for  the  foliage — these  denote 
etching.  Why  and  how  they  appear  in  this  manner 
will  be  explained  later. 


38  CHATS   ON  OLD  PRINTS 

We  give  two  pages  of  enlargements  of  portions  of 
wood  engravings.  The  first  is  of  a  portion  not  larger 
than  a  postage  stamp  from  a  woodcut  by  Liitzel- 
burger  after  Holbein.  The  woodcut  in  its  entirety- 
is  reproduced  (opposite  p.  82).  The  enlargement 
below  is  from  a  woodcut  after  Diirer's  Samson 
Slaying  the  Lion^  an  illustration  of  which  appears 
(opposite  p.  80).  It  should  be  mentioned  that  these 
are  of  the  old  school  of  woodcutters,  who  used  a 
knife  and  not  a  graver.  Both  illustrations  are  re- 
markable for  their  extraordinary  strength,  but  the 
former  is  especially  noteworthy  on  account  of  the 
few  lines  employed  to  produce  the  result.  As  in 
that  particular  style  of  wood  engraving  this  reduced 
the  labours  of  the  wood  cutter,  its  excellence  in  this 
respect  will  be  appreciated  by  the  student  on  learning 
more  concerning  the  theory  of  the  technique  of  wood 
engraving. 

The  other  two  illustrations  of  wood  engraving  fall 
within  the  nineteenth  century.  The  first,  a  portion 
of  the  head  of  a  Dervise,  from  an  illustration  in 
Dalziel's  "  Arabian  Nights,"  which  is  given  (opposite 
p.  104),  shows  the  methods  of  the  facsimile  wood 
engravers  of  the  nineteenth  century  in  the  sixties 
in  engraving  a  design  on  the  wood  block.  The 
graver  has  given  place  to  the  knife,  and  a  careful 
examination  will  show  that  certain  of  the  lines  are 
not  black  but  white.  For  instance,  the  eyebrows,  and 
portions  of  the  hair  and  beard  are  in  white  line. 
The  beginner  may  readily  come  to  the  conclusion 
that  whenever  he  sees  white  lines  under  his  magni- 
fying glass  he  is  looking  at  a  wood  engraving.     In 


ENLARGEMENT  of  portion  of  WOODCUT,  by  Liitzelburger,  after  Holbein, 
which  appears  in  its  entirety  opposite  p.  82. 


ENLARGEMENT  of  portion  of  WOODCUT,  after  Diirer, 
which  appears  in  its  entirety  opposite  p.  80. 


ENLARGEMENTS  OF  WOODCUTS. 


[To  face  page  38. 


HOW   TO    COLLECT  39 

the  illustration  below,  nearly  all  the  lines  are  white. 
This  is  modern  wood  engraving  which  has  developed 
this  style,  and  represents  the  pearls  in  the  hair  of 
the  Portrait  engraved  by  Uhlrich  which  is  illustrated 
(opposite  p.  122),  and  reduced  from  a  full-page 
illustration  appearing  in  the  Graphic. 

Etching  is  upon  metal,  and  wood  engraving 
obviously  is  upon  wood.  We  now  return  to  metal, 
and  in  the  enlargement  of  an  eye  and  portion  of  the 
face  from  the  portrait  (opposite  p.  i6o),  engraved  in 
line  upon  copper  by  Masson,  the  French  engraver, 
the  dexterous  skill  employed  by  the  artist  in  scratch- 
ing lines  on  copper  is  shown.  This  is  less  than  half 
a  square  inch  in  area  in  the  original  print.  But  even 
more  marvellous  is  the  enlargement  of  a  portion  of 
Rouen  Cathedral  from  a  steel  engraving  after  Turner 
by  Thomas  Higham.  This  engraving  is  given  (oppo- 
site p.  222),  and  as  the  original  print  measures  only 
3|  in.  by  5^  in.,  the  microscopic  detail  and  the 
exquisite  delicacy  of  touch  which  can  produce  such 
a  result  is  nothing  short  of  marvellous.  The  rose- 
window  exhibits  all  the  details  of  its  tracery,  and 
the  carvings  of  saints,  standing  in  niches,  hardly 
discernible  in  the  original  print,  come  out  in  re- 
markable detail  in  the  enlargement  as  here  shown. 

But  if  steel  engraving  exhibits  a  fineness  of 
technique  and  astounding  governance  of  the  graver, 
the  examples  we  give  of  stipple  engraving  show  a 
delicacy  of  handling  surprising  in  its  craftsmanship 
in  producing  textures  and  designs.  In  the  enlarge- 
ment of  a  minute  portion  of  a  small  Portrait  of 
Dryden  engraved  in  stipple  by  Caroline  Watson,  the 


\ 


40  CHATS   ON   OLD  PRINTS 

original  print  illustrated  (opposite  p.  198)  is  only 
2  in.  by  2J  in.  in  area.  The  result  is  produced 
by  nothing  but  dots,  as  is  shown  in  the  enlargement. 
Similarly  in  the  adjacent  enlargement  on  the  same 
page  representing  the  bow  in  the  ribbon  binding  the 
hair  in  the  Portrait  of  Princess  Charlotte^  which  ap- 
pears in  its  entirety  (opposite  p.  198),  the  marvellous 
arrangement  of  dots,  and  nothing  but  dots,  goes  to 
the  formation  of  a  delicate  portrait. 

The  enlargements  of  mezzotint  engraving  provide 
similar  food  for  reflection.  The  upper  illustration  is 
the  crease  in  the  elbow  of  the  Portrait  of  Spencer 
Compton^  Baron  of  Wilmington,  by  Pelham  (opposite 
p.  242).  Below  this  is  a  portion  of  Spring  engraved 
in  mezzotint  by  Lucas  after  Constable  appearing  as 
an  illustration  (opposite  p.  250).  In  both  these 
examples  the  ground  peculiar  to  mezzotint  is  clearly 
shown.  In  the  former  no  lines  appear;  in  true  mezzo- 
tint this  is  a  feature,  but  in  later  work,  as  in  the 
second  example,  lines  are  discernible  as  in  the  reins 
in  the  ploughman's  hand,  and  the  outline  of  the 
plough  itself. 

The  last  two  examples  of  enlargements  are  from 
an  aquatint  and  from  a  lithograph.  The  upper  one  is 
from  a  portion  of  the  aquatint  by  Dibdin,  of  oval 
shape,  appearing  in  Chapter  XIII.  (opposite  p.  262). 
The  ground  differs  from  that  of  mezzotint,  and  it 
should  not  be  difficult  after  examining  one  or  two 
specimens  of  known  aquatints  to  identify  this  form  of 
engraving.  The  lower  enlargement  shows  a  tuft  of 
grass  on  the  opposite  bank  of  river  in  the  lithograph 
by   Allong^,    illustrated    in    Chapter    XIV.   (facing 


ENLARGEMENT  of  portion  of  WOOD-ENGRAVING,  by  Dalziel,  after 
A.  Boyd  Houghton,  which  appears  in  its  entirety  opposite^.  104. 


ENLARGEMENT  of  portion  of  WOOD-ENGRAVING  by  H.  Uhlrich,  after  Henri  Levy, 
which  appears  in  its  entirety  opposite  p.  122. 


ENLARGEMENTS   OF  WOOD-ENGRAVINGS. 


{To  face  page  40. 


NOW  TO   COLLECT  4I 

p.  284).  The  crumbled  character  of  the  work  when 
examined  under  a  glass  is  one  of  the  chief  features  in 
lithography,  and  its  general  appearance  should  not  pre- 
sent much  difficulty  to  the  beginner  in  recognising  it. 

The  reader  may  readily  bring  these  enlargements 
back  to  their  original  size  by  looking  at  them  through 
a  pair  of  opera-glasses,  using  the  wrong  end  next  to 
his  eye — that  is,  having  the  smaller  end  pointing 
to  these  pages. 

In  order  to  embrace  the  period  illustrated  by  the 
examples  above  enumerated  the  collector  will  have 
to  cover  a  wide  area,  but  for  the  present  he  may 
continue  his  journey  through  this  chapter,  returning 
later  to  the  series  of  enlargements  to  prove  the 
various  prints  which  come  under  his  hand. 

He  will  frequently  find  himself  in  doubt  as  to 
whether  a  print  is  a  lithograph  or  an  aquatint,  a 
copper  engraving  or  an  old  etching,  but  after  a  little 
practice,  and  after  handling  every  specimen  that  he 
can  come  across  in  old  illustrated  volumes,  prior  to 
the  nineteenth  century,  he  will  find  his  new  hobby 
full  of  fascination,  and  not  unworthy  of  unremitting 
study. 

Reasons  for  Collecting. — We  have  enumerated  the 
various  kinds  of  engraving,  and  the  reader  will  be 
in  a  position  to  stand  on  the  threshold  at  the  open 
door  and  contemplate  the  wide  expanse  which  lies 
before  him  if  he  desires  to  enter  the  field  of  collecting. 
If  he  be  a  born  lover  of  prints  he  will  enter  the  arena 
and  be  drawn  insensibly  towards  that  restricted  por- 
tion which  appeals  most  to  his  artistic  instincts. 
Sometimes  a  man  becomes  a  collector  after  having 


42  CHATS    ON   OLD  PRINTS 

approached  the  subject  from  its  biographic  or  literary- 
side.  He  is  led  to  take  a  curious  interest  in  portraits 
of  historic  or  literary  characters.  He  is  induced  to 
buy  a  portrait  of  his  favourite  poet.  He  finds  later 
that  there  are  several  other  portraits,  some  of  which 
are  rare,  of  the  same  person.  From  this  starting 
point  he  begins  to  take  an  interest  in  engraving.  Or 
maybe  the  desire  grows  upon  him  of  adding  a  few 
illustrations  to  a  biography.  The  man  who  wishes 
to  insert  the  portrait  of  the  author  in  a  novel  is 
possessed  of  the  same  instinct,  although  he  may  not 
recognise  it. 

This  taste  is  known  as  "  Grangerising,"  and  has  its 
devoted  and  indefatigable  band  of  votaries.  It  derives 
its  name  from  the  Rev.  James  Granger,  Vicar  of 
Shiplake,  Oxfordshire,  who  published  in  1769  a 
"  Biographical  History  of  England,"  in  which  he 
strongly  urged  the  value  of  a  collection  of  engraved 
portraits.  The  litterateurs  of  his  day  bought  unbound 
copies  of  this  work,  and  commenced  to  collect 
engraved  portraits  with  which  to  illustrate  it.  This 
craze  of  extra-illustration  has  grown  to  such  an 
alarming  extent  that  it  has  brought  its  followers  into 
disrepute,  because  they  are  credited  with  playing 
many  vandal  tricks  to  other  volumes  in  order  to  add 
illustrations  to  their  own.  Boswell's  "  Life  of  Johnson  " 
has  always  been  a  favourite  subject  for  "  granger- 
isers,"  and  there  is  a  "  Pickwick "  extended  to  fifty 
quarto  volumes  !  Messrs.  Macmillan  recognised  this 
love  for  authentic  portraits  when  they  produced  their 
illustrated  edition  of  Green's  "  Short  History  of  the 
English  People,"  and  Messrs.  Bell,  in  their  new  illus- 


ENLARGEMENT  of  portion  of  COPPER  ENGRAVING  by  A.   MasSOll, 

which  appears  in  its  entirety  opposite  p.  i6o. 


ENLARGEMENT  of  portion  of  STEEL  ENGRAVING,  by  T.  Higham,  after  Turner, 
which  appears  in  its  entirety  opposite  p.  222. 


ENLARGEMENTS  OF   LINE   ENGRAVINGS. 


[To  face  pa^e  42. 


J  •   «    •  "    "      ^ 


HOW    TO   COLLECT  43 

trated  edition  of  "  Bryan's  Dictionary  of  Painters  and 
Engravers,"  have  similarly  met  a  known  want.  Both 
these  works  have  been  thus  illustrated  after  successful 
unillustrated  editions. 

Another  order  of  collector  is  the  jackdaw  collector, 
who  must  gather  unto  himself  snippets  of  everything. 
It  is  not  to  be  gainsaid  that  he  derives  a  considerable 
amount  of  enjoyment  from  his  hobby ;  but,  as  a  rule, 
he  skims  the  surface,  and  never  arrives  at  the  stage 
of  specialising  in  any  one  thing.  He  is  always  on 
the  point  of  arranging  his  collections,  but  never  does 
so.  He  has  the  instinct  of  the  collector,  but  lacks 
somewhat  the  discrimination  of  the  connoisseur  ;  he 
never  knows  what  to  reject. 

But  the  ideal  collector  is  he  who  approaches  the 
subject  with  a  love  for  what  is  beautiful.  The  gift  of 
subtle  appreciation  of  the  fine  arts  is  his  from  his  birth. 
He  is  a  man  of  taste  whose  instinct  has  been 
gradually  in  the  process  of  training  unknown  to  him- 
self. He  is  light-heartedly  heedless  of  fashionable 
caprice,  and  the  worth  of  his  own  collection  is  a  fact 
that  he  never  faces.  He  spends  all  he  can  afford 
in  his  pilgrimage  to  various  out-of-the-way  print 
shops.  He  is  always  present  at  well-known  print 
exhibitions,  and  gladly  pays  his  shilling  because  he 
cannot  help  being  there.  The  spirit  of  collecting 
is  in  his  blood.  He  lingers  lovingly  over  some  rare 
proof  beyond  his  means,  and  contents  himself  with 
something  more  within  his  means,  but  no  less  golden 
in  quality.  He  mutters  to  himself  that  these  print- 
sellers  are  getting  to  know  too  much,  and  determines 
to  probe  deeper  into  his   subject  aad  elude   their 


44  CHATS   ON   OLD  PRINTS 

recently  acquired  information.  He  is  no  mean  judge 
of  character,  and  shows  a  new  side  to  each  printseller 
in  turn.  He  knows  intuitively  the  axiom  that  the 
printseller  learns  from  his  customer,  so  he  employs 
finesse  and  diplomacy  in  his  wanderings.  Maybe 
many  a  reader  will  look  in  the  mirror  and  discover 
this  man  to  be  none  other  than  himself.  Perhaps  he 
will  forgive  the  betrayal  of  many  of  his  secrets.  To 
put  these  suggestions  as  to  the  byeways  of  print- 
collecting  into  print  is  to  strike  at  one's  own  carefully 
guarded  privacy.  We  are  fellow  sufferers.  No  more 
the  golden  exclusive  enjoyment  of  the  domain,  the 
gates  are  now  open  for  him  who  will  to  enter. 

Then  there  is  the  collector  who  embarks  upon  the 
hobby  solely  and  entirely  with  the  idea  of  making  an 
investment.  He  buys  to-day  for  to-morrow's  rise  in 
value.  His  knowledge  of  markets  and  of  fluctuations 
is  equal  to  that  of  a  stockbroker's  clerk.  He  keeps 
a  careful  record  of  great  sales,  and  has  a  fine  leaning 
to  catalogues  with  marked  prices.  His  love  for  a 
print  vanishes  in  a  moment  if  it  has  depreciated  in 
the  market.  The  ring  of  the  auctioneer's  ivory 
hammer  is  sweet  music  to  him.  He  has  become  the 
possessor  of  a  fine  velvety  proof  of  S.  W.  Reynolds 
the  Elder,  but  his  momentary  glow  of  exultation 
is  tortured  with  the  haunting  thought  that  to-morrow 
its  value  may  fall  in  the  auction-room.  He  is  a  dealer 
at  heart.  His  love  for  prints  is  confined  to  their 
monetary  worth.  He  is  a  dangerous  competitor 
because  his  knowledge  is  as  compendious  as  Ruff's 
"  Guide  to  the  Turf."  He  might  have  been  a 
bookmaker  or  anything  else,  but  he  is  a  buyer  and 


HOW   TO    COLLECT  45 

seller  of  prints,   and,  as   a   consequence,  art  is  the 
sufferer. 

Training  the  Eye. — Handle  as  many  prints — good, 
bad,  and  indifferent — as  you  can.  The  two  latter 
classes  will  greatly  predominate.  You  may  in  a 
few  weeks  or  a  few  months  turn  over  thousands  in 
portfolios  in  booksellers'  shops  or  at  auction-rooms. 
Search  old  magazines,  laboriously  examine  the 
frontispieces  and  illustrations  of  every  old  volume  you 
come  across.  Linger  before  the  printsellers'  windows. 
Ransack  the  libraries  of  your  friends.  Read  all 
that  comes  in  your  way  concerning  your  hobby. 
It  is  within  everybody's  reach  to  ponder  over  the 
masterly  essay  on  "  Engraving,"  by  P.  G.  Hamerton, 
in  the  "  Encyclopaedia  Britannica."  Visit  every  gallery 
— if  you  live  in  London  your  opportunities  are  legion 
— where  masterpieces  of  engraving  are  on  view.  The 
leading  printsellers  have  exhibitions  from  time  to 
time.  For  a  shilling  you  may  contemplate  a  row 
of  DUrer's  or  of  Rembrandt's  masterpieces,  or  a  fine 
array  of  English  mezzotints,  the  price  of  some  of  which 
would  purchase  a  racehorse.  Or  there  is  the  permanent 
gallery  of  engravings  at  the  British  Museum  or  at 
the  Victoria  and  Albert  Museum.  If  you  are  a  City 
man  drop  in  to  the  Guildhall  Museum  and  see  some 
of  the  fine  prints  hanging  in  the  corridors.  The 
bibliography  of  the  subject  is  extensive.  In  the 
few  pages  given  in  this  volume  concerning  books 
of  reference  there  is  enough  to  set  a  man  in  the 
right  path.  In  provincial  towns  in  most  of  the 
libraries  some  of  these  volumes  will  be  procurable. 
Read  what   Ruskin   and   Hamerton   and  what  Mr. 


46  CHATS   ON  OLD  PRINTS 

Wedmore  and  Mr.  Alfred  Whitman  have  written. 
See  the  prints  they  speak  of,  and  in  addition  handle 
everything  you  possibly  can  that  has  ever  issued 
from  an  engraver's  hand.  If  the  spirit  of  print  col- 
lecting is  in  your  blood  you  will  by  this  means  light 
a  fire  that  will  never  go  out  as  long  as  you  live.  The 
enthusiasm  of  youth  will  absorb  you,  and  the  love 
you  bear  for  the  engraver  and  his  work  will  never 
die. 

What  to  Collect. — This  becomes  at  once  a  per- 
sonal matter  governed  first  by  the  reader's  taste 
— even  a  beginner  has  his  own  especial  predilec- 
tions— and  by  what  he  intends  to  spend  on  his 
hobby.  Mezzotints  are  the  most  costly,  and  wood 
engravings  of  the  sixties  are  the  most  inexpensive. 
Between  these  two  extremes  lie  all  the  other  classes 
of  engraving.  In  the  chapters  following,  an  effort  is 
made  to  keep  the  prints  discussed  within  the  reach 
of  a  man  of  limited  means.  It  may  come  as  a 
surprise  to  many  wealthy  collectors  who  place 
themselves  in  the  hand  of  printsellers  who  naturally 
talk  of  nothing  but  "states,"  to  know  that  litho- 
graphs and  wood  engravings  with  print  on  the  other 
side  of  the  page  have  not  been  deemed  unworthy  to 
find  a  place  on  the  walls  of  the  Victoria  and  Albert 
Museum  in  the  exhibitions  of  Lithographs  in  1898-9 
and  Modern  Illustration  in  1901.  Superb  collectors 
will  sneer  at  this.  But  the  writer  at  the  outset 
desires  to  state  that  this  little  volume  does  not  aspire 
to  treat  of  anything  other  than  the  "  lower  slopes." 
That  is  the  keynote.  It  might  even  be  desirable  to 
give  a  detailed  list  of  what  not  to  collect  in  order 


ENLARGEMENT  of  portion  of  STIPPLE  ENGRAVING,  by  Caroline 
Watson,  wliicli  appears  in  its  entirety  opposite  p.  198. 


ENLARGEMENT  of  portion  of  STIPPLE   ENGRAVING,  by  W.   Ridley, 
which  appears  in  its  entirety  opposite  p.  198. 


ENLARGEMENTS  OF  STIPPLE   ENGRAVINGS. 


iTo  face  page  46. 


HOiV   TO   COLLECT  47 

to  put  the  amateur  collector  more  at  his  ease  and 
free  him  from  being  abashed  at  the  record  prices 
reached  in  auction-rooms  for  prints  which  read  in 
the  daily  press  like  an  advertisement  of  contributions 
by  wealthy  patrons  to  charitable  funds. 

At  this  juncture  the  writer  wishes  it  to  be  clearly 
understood  that  in  ignoring  "states"  it  is  not  by 
reason  of  his  indifference  to  their  place  in  collecting, 
but  it  would  be  trespassing  beyond  the  scope  of  the 
present  volume  to  dwell  in  detail  upon  their  qualities. 

It  might  even  be  urged  that  half  the  possessors  of 
"early  states"  of  the  great  masters  could  not  give 
adequate  reasons  why  one  state  was  worth  more 
than  another.  The  same  weakness  exists  among 
collectors  of  rare  editions  of  books  in  sumptuous 
bindings  who  never  read  them.  It  is  of  exceptional 
interest  to  close  students  of  the  fine  arts  and  to  those 
who  themselves  practise  engraving  to  examine  the 
methods  and  the  corrections  of  an  engraver  up  to  the 
time  when  he  deemed  his  plate  finally  complete  to 
issue  to  the  general  public.  But  the  writer  holds  the 
opinion  that  for  the  ordinary  man  "  states  "  are  con- 
fusing, and  that  it  is  far  better  for  him  to  confine  his 
attention  to  finished  examples  of  engraving  than  to 
dabble  in  the  details  of  technique  of  which  he  is  not 
conversant. 

This  is  heterodox  to  the  fraternity  of  cognoscenti, 
and  is  written  in  fear  and  trembling,  but  to  the 
ordinary  man  with  the  vast  field  of  engravers'  work 
untouched  it  is  the  only  common-sense  way  to 
approach  the  study  of  old  prints.  If  the  contrary 
view  be  advanced  what  answer  can  be  given  to  the 


48  CHATS   ON   OLD  PRINTS 

question  as  to  the  chance  a  man  of  small  means  may 
ever  have  of  handling,  in  these  days  of  keen  competi- 
tion, rare  examples  of  the  great  masters  of  the  graver 
with  their  multitudinous  states.  It  is  not  every  one 
who  has  the  leisure  during  the  hours  of  daylight  to 
attend  at  the  Print  Room  at  the  British  Museum,where 
every  facility  is  offered  for  the  examination  of  fine 
specimens,  nor,  in  lieu  of  that,  is  the  contemplation 
of  splendid  impressions  behind  glass  set  forth  else- 
where,  of  anything  like  so  much  practical  value  as 
the  turning  over  and  personally  scrutinising  hundreds 
of  examples  in  printsellers'  shops.  It  is  an  essential 
point  in  the  study  of  old  prints  that  the  beginner 
must  handle  the  engravings,  as  in  the  collection  of 
old  china — all  else  is  vain  theory. 

Forgeries. — Their  name  is  legion.  There  are  rank 
fabrications  of  old  masters'  work.  There  are  splendid 
copies  done  by  contemporaries  as  in  the  case  of 
Diirer.  There  are  harmless  interpretations,  such  as 
those  by  Captain  Baillie  of  Rembrandt  and  others. 
There  are  also  photographic  reproductions  published 
without  intent  to  deceive  by  iconographic  societies, 
but  diverted  from  their  limited  sale  and  foisted  upon 
unwary  collectors  as  originals.  Since  the  art  of  en- 
graving has  fallen  upon  evil  days  many  of  its  last 
exponents  have  turned  their  attention  to  practices 
not  numbered  among  the  fine  arts.  The  writer  saw 
a  short  time  ago  a  whole  set  of  Bewick's  wood  en- 
gravings photographed  on  to  wood  blocks  ready  for 
engraving  by  some  fraudulent  wood  engraver. 

The  usual  test  of  photographic  work  is  that  it  has 
a  suspiciously  smooth   and   parchment-like  surface. 


NOW  TO   COLLECT  \        49 

It  is  only  after  touching  scores  of  genuine  prints 
that  the  beginner  acquires  the  instinct  of  "  spotting  " 
a  faked  one.  Colour  prints  should  always  be  re- 
garded with  strong  suspicion,  especially  when  they 
have  "been  in  one  family  a  hundred  years."  No 
colour  print  ever  claims  less  pedigree  than  this. 
Margins  are  cut  down  and  stains  artfully  intro- 
duced to  simulate  bad  usage.  Never  buy  any  print 
behind  glass  is  a  golden  rule,  unless,  of  course,  only 
a  few  shillings  be  given  for  it. 

Never  buy  Durer  or  Lucas  van  Leyden  or  Rem- 
brandt, or  any  of  the  old  German  school  of  engravers, 
unless  from  your  favourite  printseller.  Never  give 
big  prices  for  anything  you  do  not  understand. 
Avoid  colour-prints  altogether  unless  you  are  a 
man  who  has  a  large  balance  at  his  banker's  lying 
idle.  If  you  are  a  poor  man  do  not  speculate  in 
mezzotints.  The  art  of  restoration  deserves  a  sepa- 
rate volume  to  itself  A  multitude  of  secret  tricks 
are  practised  by  the  restorer  who  is  an  artist.  He 
can  add  margins,  he  can  convert  a  lettered  proof  into 
an  early  state,  he  can  remove  damp  stains,  he  can 
touch  up  and  brighten  dull  mezzotints,  nor  are  holes 
and  tears  beyond  his  skill.  Better  men  than  you 
have  been  deceived  by  his  handiwork — in  a  word, 
it  is  marvellous  in  its  perfection  of  patient  artistry. 

Paper  and  watermarks  are  a  safeguard,  but  not 
always,  for  many  forgeries  have  been  printed  on 
old  paper  taken  from  the  flyleaves  of  early  volumes, 
and,  failing  this,  watermarks  have  been  worked  into 
paper.  But,  as  a  general  rule,  these  elaborations 
occur  only  in  rare  prints.     If  the  beginner  confines 

4 


50  CHATS   ON   OLD  PRINTS 

his  attention  to  less  valuable  prints  he  may  browse 
among  thousands  that  are  the  most  unlikely  ever  to 
have  been  fabricated.  The  nearer  the  collector  goes 
to  fashionable  collecting  the  closer  he  comes  to  the 
limited  area  in  which  the  forger  works.  Throughout 
this  volume  a  great  number  of  practical  hints  are  given 
which  should  assist  the  collector  to  pursue  his  hobby 
in  fields  unattended  by  the  dangers  which  assail  the 
moneyed  amateur  who  lifteth  up  his  head  and 
boasteth. 

Where  to  Collect  is  the  difficulty  with  the  beginner. 
In  London  and  in  most  of  the  big  towns  there  are 
printsellers  who  have  a  miscellaneous  stock  to  suit 
the  requirements  of  their  various  customers.  In  the 
more  fashionable  quarters  the  shop  begins  to  assume 
the  title  of  "  gallery,"  and  the  prices  go  up  accord- 
ingly. But  in  less  fashionable  localities  second-hand 
booksellers  have  a  varied  assortment  of  prints  in 
portfolios  for  collectors  to  make  their  selection.  Some 
firms  make  a  specialty  of  portraits  arranged  alpha- 
betically. It  is  obviously  impossible  here  to  mention 
names,  although  we  should  like  to  do  so.  Some 
printsellers  are  always  willing  to  assist  their  clients 
in  forming  a  collection,  and  readily  impart  knowledge 
acquired  during  many  years  of  experience.  The 
printseller  nowadays  is  what  the  bookseller  used  to 
be  before  modern  competition  made  his  business 
into  a  mere  commercial  concern  buffeted  by  discounts 
and  advertisement.  In  the  country  there  are  fre- 
quently sales  of  furniture  in  which  portfolios  of 
engravings  appear  in  the  catalogue.  In  towns, 
especially   in    London,   there    are    regular   sales   in 


ENLARGEMENT  of  portion  of  MEZZOTINT,  by  Peter  Pelham. 
The  crease  in  the  elbow  of  portrait  which  appears  in  its  entirety  opposite  p.  242. 


ENLARGEMENT  of  portion  of  JfEZZOTiNT,  by  David  Lucas,  after  Constable. 
which  appears  in  its  entirety  opposite  p.  250. 


ENLARGEMENTS  OF  MEZZOTINTS. 


[To  face  page  50. 


«      • 


HOW  TO   COLLECT  5 1 

auction-rooms  of  collections  of  prints  which  are  dis- 
persed.    It  is  true  that  the  lots  comprise  a  number  of 
engravings,  but  this  ought  not  to  deter  the  collector 
from  entering  into  competition  with  dealers.     Before 
buying  the  purchaser  should  visit  the  auction-room 
a  day  or  so  before  the  sale,  and,  armed  with  a  cata- 
logue, carefully  examine  the  lots  of  prints  for  sale 
and  determine  what  he  intends  to  bid  for  them.     He 
should  firmly  make  up  his  mind  not  to  exceed  this 
estimate.     He  need  not  be  greatly  perturbed  even  if 
they  fall  to  another  bidder  for  a  few  shillings  more 
than  his  maximum,  because  it  does  not  necessarily 
follow  that  he  would  have  obtained  them  for  that 
sum,  as  his  competitor  would  still  have  been  against 
him  in  the  bidding. 

Hidden  away  in  obscure  corners  lie  the  treasures 
to  be  discovered  by  the  collector.     The  china  and  the 
furniture  collector  have  hunted  up  and  down  England 
and  in  many  a  remote  chdteau  on  the  Continent  for 
the  "  things  that  are  most  excellent."     It  is  not  likely 
that    a    complete   set   of  Whistler's   etchings   or   of 
Seymour   Haden's  masterpieces  may  be  found  in  a 
wayside  cottage.    A  Plymouth  saltcellar  or  a  Chippen- 
dale chair  may  have  been  thrust  away  in  a  lumber- 
room,  but   prints   never  had  long   life   in  cottagers' 
hands.     Now   and   again   a   fine   mezzotint  may  be 
espied  in  inappropriate  surroundings.     But  the  pea- 
sant, and  many  a  man   of  better   blood   too,  has  a 
great  delight  to  mount  a  fine  engraving  on  a  canvas 
stretcher  and  apply  a  coat  of  varnish  to  it.     If  it  be  a 
delicate  colour  print,  the  delight  is  the  greater.     The 
truth  is  that  prints  must  be  sought  in  more  "  polite 


52  CHATS   ON   OLD  PRINTS 

society."  Lovers  of  books,  booksellers,  and  albums 
of  eighteenth-century  days  of  well-to-do  folk  are  the 
best  and  most  likely  sources.  But  the  print  collector 
must  come  armed  with  some  knowledge  more  than 
rudimentary  to  disinter  the  valuable  from  the  trivial- 
There  is  much  chaff  and  very  little  wheat  in  the  field 
of  print  collecting. 

Prices. — With  regard  to  prices,  he  will  very  soon 
learn,  after  a  score  of  purchases  cautiously  made, 
what  are,  roughly,  the  market  values  of  the  particular 
class  of  prints  upon  which  he  has  set  his  heart. 
Careful  study  of  printsellers'  catalogues  will  give  him 
some  idea  of  what  is  most  sought  after.  As  a  rule, 
he  will  never  pick  up  his  most  golden  bargains  from 
catalogues.  Now  and  again  a  good  item  will  appear, 
but  the  printseller's  regular  clientele  will  swoop  down 
upon  it  like  hawks  and  bear  it  away  before  he  has 
had  time  to  call  round  at  the  shop.  Some  of  the 
most  eager  collectors  wire  at  once  to  the  print- 
seller  to  secure  a  bargain.  It  is  the  experience  of  the 
writer  that  it  is  lucky  if  one's  name  begins  with  either 
of  the  first  three  letters  of  the  alphabet,  as  the 
catalogue  in  such  cases  arrives  a  day  or  so  before 
one's  unknown  competitors  in  the  remainder  of  the 
alphabet. 

As  to  the  values  of  mezzotints  of  the  best  period  of 
the  eighteenth  century  by  Mc  Ardell,  Valentine  Green, 
and  J.  R.  Smith,  the  colour  prints  of  William  Watson 
and  of  Ryland,  or  the  masterpieces  of  Rembrandt,  of 
Durer,  and  of  the  German  School,  or  half  a  hundred 
other  names  that  are  well  known  to  every  printseller 
and  every  collector  throughout  the  country,  there  is 


HOW   TO   COLLECT  53 

little  hope  for  the  beginner  to  enter  the  lists  and 
successfully  bear  off  in  triumph  any  prize  from  so 
formidable  an  array  of  experts. 

Luckily  for  him  and  happily  for  all  those  who  love 
good  work,  there  is  a  multitude  of  engravers  on  the 
lower  slopes  whose  names  are  not  so  familiar  to  the 
barterers  in  the  market-place.  One  recalls  the  query 
of  Oldbuck  to  Lovel  in  "The  Antiquary":  "And 
where  lies  your  vein  ? — are  you  inclined  to  soar  to 
the  higher  regions  of  Parnassus,  or  to  flutter  around 
the  base  of  the  hill  ?  "  In  print  collecting  it  is  safer 
and  wiser  to  leave  the  peaks  to  astute  or  wealthy 
collectors,  and  although  one  need  not  flutter  around 
the  base  of  the  hill,  it  is  advisable  not  to  be  too 
ambitious  nor  too  confident  at  first. 

Let  not  the  beginner  despair  of  procuring  bargains 
nowadays.  A  penny  for  a  Whistler,  a  penny  for  a 
Boyd-Houghton,  a  penny  for  a  Sandys  !  Surely  this 
must  make  his  blood  tingle.  The  old  connoisseur  will 
sneer  at  this.  Let  us  bid  him  go  back  to  his  "states  " 
and  his  unique  examples.  The  poor  man's  patch  need 
not  contain  all  weeds.  There  are  heaps  of  fine  wood 
engravings  of  the  sixties  which  may  be  bought  at 
a  penny  apiece.  Old  magazines  at  a  shilling  or  a 
couple  of  shillings  a  volume  contain  dozens  of 
examples  by  Millais,  Pinwell,  Fred.  Walker,  Sandys 
the  incomparable,  and  many  another  man  whose 
name  is  better  known  to  the  German  scholar  than 
to  the  English  lover  of  the  fine  arts.  The  writer 
knows  of  orders  placed  by  German  firms  for  all  the 
illustrated  English  books  of  the  period  from  i860  to 
1870  with  an  English  bookseller.     Truly  a   man   is 


54  CHATS   ON   OLD  PRINTS 

not  a  prophet  in  his  own  country !  A  few  shillings, 
with  luck,  may  procure  a  proof  steel  engraving  after 
Turner.  Half  a  sovereign  will  buy  a  couple  of 
French  etchings  by  Maxime  Lalanne  or  by  Paul 
Rajon.  Half  a  crown  will  make  a  couple  of  ex- 
cellent aquatints  change  owners.  Five  shillings 
may  bring  one  a  small  mezzotint  by  a  little-known 
engraver — Bromley  or  Dawe.  As  for  stipple  en- 
gravings, they  may  be  bought  by  the  score,  ruthlessly 
torn  from  the  European  Magazine  or  some  similar 
volume  by  some  bookseller's  vandal  hands.  You  may 
get  a  copper  engraving  by  Caroline  Watson  for  a  few 
pence.  Lithographs  by  little-known  men  are  easily 
picked  up  for  less  than  a  shilling  apiece.  All  these 
are  excellent  as  a  beginning.  In  the  early  stages  it  is 
not  necessary  for  the  beginner  to  pay  more  than  half 
a  crown  for  any  single  print. 

By  this  time  the  reader  will  have  arrived  at  the 
conclusion  that  old  prints  are  cheaper  than  modern 
photogravures.  It  is  a  simple  conclusion.  The  old 
hand  at  furniture-buying  well  knows  that  he  can  buy 
a  contemporary  chair,  made  by  some  local  cabinet- 
maker in  the  Chippendale  style,  cheaper  than  a 
modern  imitation,  and  better  made  too,  than  can 
be  bought  in  Tottenham  Court  Road  at  five  times 
the  money.  Looked  at  all  round,  it  is  an  absurdity 
to  know  that  one  may  procure  a  very  worthy  specimen 
of  old  engraving  at  the  same  cost  as  a  Christmas  card 
with  its  flaunting  vulgarity  of  design  and  accompani- 
ment of  silk  ribbon. 

As  a  warning,  it  should  be  boldly  stated  that  there 
is   nothing   so   deceptive   as   print  collecting.      The 


ENLARGEMENT  of  portion  of  AQUATINT,  by  J.  Hill,  after  Dibdin, 
which  appears  in  its  entirety  opposite  p.  262. 


EXLARGEMEXT   of  portion  of   LITHOGRAPH,   by  AUongc, 
which  appears  in  its  entirety  opposite  ^.284. 

ENLARGEMENTS — AQUATINT    AND    LITHOGRAPHY. 

[To  face  page  54. 


NOW   TO   COLLECT  55 

beginner  should  go  warily  and  arm  himself  with 
facts.  Printsellers  may  be  deceived  as  to  values. 
There  was  an  eccentric  old  dealer  near  the  British 
Museum  well  known  to  collectors.  He  really  had 
nothing  of  any  great  worth,  but  he  had  come  to 
believe  that  all  his  prints  had  a  phenomenal  value, 
and  it  was  with  difficulty  that  anybody  could  procure 
even  an  ordinary  specimen  from  him.  He  realised 
the  fact  that  engraving  was  fast  becoming,  or  indeed 
almost  is,  a  lost  art.  He  fixed  his  prices  at  a  figure 
which  will  be  realised  ten  years  hence.  He  was 
regarded  as  a  madman  by  his  customers.  He 
was  really  only  a  quarter  of  a  century  in  advance 
of  his  time. 

It  is  impossible  to  foretell  what  to-morrow's  prices 
may  be,  but  it  is  safe  to  prophesy  that  they  will  be 
ten  times  what  they  are  now  in  as  many  years. 
The  writer's  advice  to  the  young  collector  is : 
Make  haste  slowly.  Learn  what  to  reject.  Know 
your  subject,  and  buy  as  far  as  possible  the  best  of 
everything.  After  the  first  stages  when  the  glorious 
profusion  is  bewildering  to  the  novice,  he  will  begin 
to  realise  that  his  own  specimens  are  somewhat 
lacking  in  quality,  and  he  will  burn  to  acquire  proofs 
on  india-paper.  They  are  not,  in  engravings  on 
steel,  uncommon  nowadays.  Discard  dirty  and  torn 
prints  unless  they  happen  to  be  rare,  when  half  a 
loaf  is  better  than  none.  Compare  good  impressions 
with  bad  ones,  and  the  difference  must  appeal  even 
to  the  beginner.  Know  something  about  all,  but 
endeavour  to  know  all  about  something.  The  special 
subject,  whether  it  be  as  extensive  as  the  etchings  of 


56  CHATS   ON  OLD  PRINTS 

Hollar  or  as  exclusive  as  the  engraved  work  by 
William  Blake,  will  appeal  irresistibly  to  your 
own  artistic  personality,  and  having  found  your 
particular  plot  in  the  field  of  collecting,  cultivate  it 
assiduously. 


n 

ETCHING 


CHAPTER   II 

ETCHING 

The  technique  of  etching — Early  Masters — Rembrandt 
— Hollar  in  England — Dutch  seventeenth-century 
etchers — The  revival  of  etching  in  the  nineteenth 
century — Modern  French  etchers — Modem  English 
etching. 

At  one  time  it  was  necessary  to  say  in  print  that  an 
etching  was  not  a  pen-and-ink  drawing.  But  the 
student  must  be  remarkably  young  nowadays  who 
can  be  caught  applying  the  term  etching  to  a  draw- 
ing made  by  the  pen.  And  be  it  said  that  an  etching 
need  not  be,  though  a  great  many  modern  specimens 
are,  printed  in  brown  ink.  The  ink  used  by  the 
great  masters  has  mellowed  by  time  into  a  rich 
warm  brown,  but  black  was  probably  its  original 
colour. 

The  Technique. — An  etching  is  a  print  taken  from 
a  metal  plate,  usually  copper,  and  printed  by  the 
method  known  as  copper-plate  printing,  as  one's 
visiting-card  is  printed.  The  work  consists  of  lines 
etched,  that  is  bitten,  into  the  plate  by  means 
of  acid. 

59 


6o  CHATS   ON  OLD  PRINTS 

In  order  to  get  an  impression  on  paper  from  a 
metal  plate  the  lines  of  the  design  have  to  be  sunk 
below  the  surface  of  the  plate,  and  each  lin&4s-j:epre- 
^ented  by  a  furrow.  Thei  plate  is  then  ijiked^all  over 
so  that  these  furrows  are  filled.  The  superfluous  ink 
on  the  surface  is  carefully  wiped  away,  and  the  plate 
is  then  ready  for  printing.  A  sheet  of  damp  paper 
is,  by  means  of  a  copper-plate  printing  press,  pressed 
upon  the  plate.     The  result  is  a  print. 

If  a  piece  of  copper  be  placed  in  nitric  acid  the 
metal  is  corroded,  and  if  left  long  enough  in  its  bath 
it  would  be  eaten  up  altogether.  Nitric  acid  does 
not  touch  wax  nor  resinous  substances.  These  two 
facts  govern  etching. 

A  metal  plate  is  held  in  a  hand-vice  over  a  flame 
till  it  is  sufficiently  hot  to  receive  the  etching-ground 
which  is  applied  to  it.  This  etching-ground  consists 
of  a  mixture  ofasphaltum,  burgundy-pitch,  and  bees- 
wax. By  means  of  a  dabber  of  cotton  wool  made  in 
a  ball,  covered  with  a  piece  of  silk,  it  is  applied  to  the 
plate,  the  hot  metal  causing  the  "  ground  "  to  ooze 
through  the  silk  covering  and  deposit  itself  evenly 
on  the  surface  of  the  plate.  The  ground  can  also  be 
used  cold  as  a  paste  dissolved  in  oil  of  lavender  and 
applied  with  a  roller,  or,  when  dissolved  in  chloroform, 
poured  over  the  plate. 

iter  the  etching-ground  has  been  laid  the  plate  is 
leld  face  downwards  over  a  bundle  of  lighted  tapers 
and  coated  with  a  deposit  of  smoke,  leaving  it  with  a 
fine  black  surface. 

The  "plate  is .  now  ready  for  etching.  Etching 
needles  are  Used ;  the  finer  are  of  the  thickness  of  a 


:=!    a   -^ 


ETCHING  6 1 

sewing-needle,  the  coarser  are  of  the  size  of  a  medium 
embroidery  needle.  It  is  the  duty  of  this  needle  to 
lay  bare  the  surface  of  the  copper  by  removing  the 
ground  and  rendering  it  ready  to  receive  the  acid. 
Designs  are  drawn  in  reverse.  It  must  be  remem- 
bered that  they  have  to  be  printed  from,  so  that 
everything  facing  the  right  hand  will  be  facing  the 
left  in  the  print.  Meryon,  the  great  French  etcher, 
turned  his  back  on  the  view  he  was  reproducing,  and 
freely  worked  from  the  reflection  in  a  small  hand- 
mirror. 

Let  us  suppose  that  the  design  has  been  carefully 
made  on  this  sooty  surface,  showing  the  bright  gleam 
of  the  copper  through  the  cutting  made  by  the  needle. 
The  plate  is  now  ready  for  the  acid  bath. 

The  back  is  coated  with  "  stopping-out "  varnish, 
which  is  a  varnish  or  Brunswick  black  used  to  protect 
it  from  the  action  of  the  acid  upon  the  metal.  If  the 
plate  be  not  wholly  immersed  in  a  bath,  a  wall  of 
wax  is  built  around  the  edge.  The  acid  used  is 
nitric  or  hydrocJiloric-acid  and  chlorate  of  potash  and 
water.  The  time  the  acid  is  allowed  to  act  upon  the 
plate  varies  from  a  minute  to  a  couple  of  hours, 
according  to  varying  conditions,  such  as  the  strength 
of  the  mordant,  the  metal  employed,  the  tempera- 
ture, or  the  quality  of  the  result  desired. 

Asjhe_" biting-in^;_j[)rocess  continues,  the  parts 
which  the  etcher  requires  to  be  no  longer  eaten  by 
the  acid  are  "  stopped-ouLllby  the  varnish.  Obviously 
the  fine  lines  in  the  sky  are  the  first  to  be  stopped 
out,  and  those  lines  which  he  intends  to  print  deep 
black  he  allows  the  acid  to  act  upon  for  a  longer  time. 


62  CHATS   ON  OLD  PRINTS 

This  process  of  "  biting-in  "  and  "  stoppingrout "  is 
repeated  several  times,  till  the  artist  considers  the 
plate  finished,  when  the  wax  and  varnish  are  carefully- 
cleaned  off,  and  the  plate  is  ready  to  be^int^irQm. 
Dry-point  etching  is  en^^ving  with   an    etching- 
needle  upon  a  plate  without   the   use  of  any  acid. 
The  needle  used  has  more  of  a  cutting  edge  than  the 
rounded  point  used  when  upon  the  etching  ground. 
In  dry-point  the  etcher  commences  at  once  upon  the 
bare  copper  plate  without  any  ground.     In  drawing 
the  design  the  needle  tears  up  the  copper  and  leaves 
what  is  known  as  a  "  burr " — a  ridge  of  copper  on 
either  side  of  the  furrow.     It  is  this  burr  which  gives 
the   quality   to   dry-point   etchings    when   they   are 
printed.     This  burr  is  removed  with  a  scraper  when 
dry-point  is  used  in  conjunction  with  "bitten-in"  work. 
Soft-ground  etching. — This  is  a  method  in  which 
tallow  is  added  to  the  usual  etching  ground.     The 
plate  is  grounded  and  smoked  in  the  usual  manner. 
The  design,  instead  of  being  traced  with  a  needle,  is 
traced  with  a  lead-pencil  on  a  piece  of  grained  paper, 
which   has   been   stretched   over   the   ground.     The 
indentations  on  this  paper  and  on  the  soft  ground 
beneath  are  sufficient,  when  the  paper  is  carefully- 
removed,  to  enable  the  acid  to  work  on  the  plate  and 
reproduce   the   design.     It  was  largely  used  at  the 
beginning  of  the  nineteenth  century  for  etchings  to 
represent  crayon  drawings. 

Early  Masters. — In  pursuance  of  the  plan  laid  down 
for  this  volume  the  great  masters  will  be  rather 
cavalierly  treated.  It  will  be  shown  later,  when 
dealing  with  line  engraving,  that  the  engraver  slowly 


REPRODUCTION  OF  ETCHING  FROM  SET  OF  "FIVE  DEATHS,"  by  Stefaiio  della  Bella. 

(Size  of  original  etching  $1  in.  by  7|  in.) 

\_To  face  page  62. 


ETCHING  63 

transcribes  by  the  ordered  patience  of  his  methods, 
and  places  himself  in  natural  subordination  to  the 
mind  of  the  artist  whose  design  or  picture  he  is 
engraving.  But  etching  is  a  painter's  art.  Whereas 
all  other  engraving,  except  lithography,  is  slow  and 
laborious,  etching  in  its  speed  is  capable  of  responding 
to  the  personal  sensitiveness  of  the  artist.  - 

Among  the  many  thousands  of  engravers  from  the 
earliest  time  there  are  not  a  great  number  who  were 
painters  too.  Martin  Schongauer  was  at  once  painter, 
engraver,  and  goldsmith ;  Albert  Diirer  was  painter 
and  engraver ;  Lucas  van  Leyden,  representative  of 
the  Dutch  school,  and  Agostino,  and  the  Italian 
school  down  to  the  Caracci  were  painter-engravers. 
Vandyck's  etchings  are  as  personal  as  his  pictures, 
and  Rembrandt's  fame  with  the  etching-needle 
is  as  paramount  as  his  reputation  with  the  brush. 
The  little  Dutch  masters  of  the  seventeenth  cen- 
tury wisely  chose  to  perpetuate  their  own  works 
by  means  of  etchings  with  their  own  hands.  Claude 
Gel^e  left  about  forty  etchings  of  landscapes ; 
Hogarth  was  a  master  of  the  graver ;  William  Blake 
painted  and  engraved  his  visions  ;  "  Old  Crome  "  and 
Wilkie  both  etched  ;  the  great  Turner,  high-priest  of 
colour,  used  the  etching-needle  with  masterly  skill, 
and  learned  how  to  engrave  in  mezzotint ;  and  there 
is,  of  course.  Whistler. 

Rembrandt. — The  process  of  etching  was  used  by 
Diirer  in  his  later  prints  in  the  early  sixteenth  cen- 
tury. The  process  was  known  to  goldsmiths  long 
before  that.  Ludovico,  whose  engravings  are  rare 
and  all  from  his  own  designs,  first  etched  the  outline 


64  CHATS   ON  OLD  PRINTS 

before  working  upon  them  with  a  graver.  But  Rem- 
brandt (1607- 1669)  is  the  first  master  who  extensively 
employed  the  method,  and  in  the  extent,  variety,  and 
power  of  his  work  he  is  undoubtedly  the  greatest 
etcher  that  ever  lived. 

Around  the  etchings  of  Rembrandt  has  grown  a 
learned  literature  till  the  number  of  volumes  of  cata- 
logues and  scholarly  monographs  on  the  subject  has 
almost  reached  the  number  of  his  plates.  Men  have 
even  achieved  renown  in  devoting  their  skill  to  copy- 
ing his  etchings,  notably  Benjamin  Wilson  in  the 
middle  eighteenth  century ;  Captain  Baillie,  who 
published  in  1792  a  "  series  of  225  prints  and  etchings 
after  Rembrandt,  Teniers,  Dou,  Poussin,  and  others"; 
and  then  there  is  Bernard  Picart,  himself  a  great 
etcher  and  engraver,  whose  copies  of  Rembrandt's 
etchings  and  other  old  masters  were  published  in 
1738  in  a  volume  of  seventy-eight  plates,  entitled, 
"  Les  Impostures  Innocentes." 

There  is,  in  view  of  the  scope  of  the  present  volume, 
no  need  to  linger  over  Rembrandt ;  the  writer  regret- 
fully omits  any  illustrations  of  his  etchings ;  but  in 
the  Bibliography  there  is  ample  reference  to  provide  the 
student  with  a  great  and  fascinating  study  of  his  work. 

Hollar. — Among  the  early  masters  of  etching  within 
reach  of  the  collector  of  modest  means  is  Wenceslaus 
Hollar,  who  was  born  at  Prague  in  1607.  He  worked 
in  England  from  1637,  and  is  included  among  our 
own  engravers.  At  the  age  of  twelve,  at  the  taking 
of  Prague,  his  family  lost  all,  and  he  started  on  his 
travels,  which  did  not  lead  him  into  pleasant  places. 
The   Earl   of  Arundel  found  him  at  Cologne,  and 


ST.   PETER. 


From  the  set  of  etchings  by  Callot,  depicting  "  The  Lives  of  the  Apostles." 

(Size  of  original  etching  4I  in.  by  5|  in.) 

[To  face  page  64. 


(1*      • 


ETCHING  65 

became  his  patron,  bringing  him  to  England.  In 
1640  appeared  his  beautiful  set  of  twenty-six  plates, 
entitled,  "  Ornatus  Muliebris  Anglicanusl^  represent- 
ing the  costume  of  English  ladies  of  all  ranks  of  that 
period.  We  reproduce  (opposite  p.  36)  an  enlarge- 
ment of  a  portion  of  a  delicate  little  costume-study 
from  this  series.  From  1642  to  1644  he  published 
other  sets  of  ladies  in  the  costumes  of  the  different 
nations  of  Europe. 

It  was  not  a  felicitous  time  for  lovers  of  the  fine 
arts  nor  for  those  who  wished  to  work  uninterruptedly 
apart  from  the  rude  buffetings  of  the  world.  Herrick, 
the  golden-mouthed,  was  singing  in  Devonshire  "  To 
Anthea,"  and  recording  Julia's  charms  in  imperish- 
able verse.  But  Hollar  was  nearer  the  Court,  and 
was  drawn  into  the  seething  turmoil  of  the  civil  war. 
The  battle  of  Chalgrove  Field  had  been  fought  in  1643, 
in  which  Hampden  was  mortally  wounded.  Oliver 
Cromwell  had  won  Marston  Moor,  and  the  king  had 
been  routed  at  Naseby.  The  bloody  hand  of  war  had 
stretched  over  the  land,  and  had  graved  deep  furrows. 
Art  was  pestilential  to  the  nostrils  of  the  Puritan,  and 
Hollar,  who  put  down  his  etching-needle  to  take  up 
the  sword,  was  made  prisoner  at  Basing  House  in  1645. 

In  1647  he  was  at  Antwerp,  and  was  engaged  in 
engraving  from  the  priceless  collection  of  pictures 
of  the  Earl  of  Arundel,  which  that  nobleman  happily 
carried  with  him  in  his  flight  from  England.  In 
the  reproduction  from  the  Arundel  Collection  here 
illustrated  the  inscription  runs :  "  H,  Holbein  incidit 
in  lignum.  W.  Hollar  fecit  Aqua  fortiy  1647.  ^^ 
Collectione  Arundeliana." 

5 


66  CHATS   ON   OLD  PRINTS 

Poor  Hollar  with  his  two  thousand  seven  hundred 
and  thirty-three  prints  faithfully  and  pedantically 
enumerated  by  collectors !  Fate  laid  a  very  heavy 
hand  on  him.  Some  of  the  prints  are  now  extremely 
rare,  and  command  high  prices.  "  They  are  generally 
etched,  and  are  executed  with  surprising  lightness 
and  spirit.  His  point  is  free,  playful,  and  at  the  same 
time  firm  and  finished."  Such  is  the  criticism  of 
posterity.  In  Antwerp  he  worked  for  a  small  pit- 
tance for  the  booksellers.  Returning  to  England  in 
1652  he  met  with  little  encouragement,  and  while  he 
executed  his  plates  in  "  playful "  delicacy  the  wolf 
was  at  the  door,  and  hunger  and  want  were  his  bed 
companions.  "  Surprising  lightness  and  spirit " — 
what  a  debt  posterity  owes  to  such  a  man  !  The 
squabbles  in  the  auction-room  over  his  "  rare  states  " 
are  part  payment,  but  nobody  lays  a  wreath  to  his 
memory  on  his  grave  in  St.  Margaret's  Churchyard. 

The  Great  Plague  in  1665,  with  its  hundred  thousand 
victims  in  London  and  the  Great  Fire  in  the  follow- 
ing year,  laid  his  fortunes  lower  still.  It  is  true  he 
went  with  Lord  Howard  to  Tangier  in  the  capacity 
of  His  Majesty's  draughtsman,  but  on  his  return 
his  honorarium  and  expenses  of  a  hundred  pounds 
were  with  difficulty  paid.  Those  were  the  days  of 
the  Merry  Monarch,  when  the  seamen's  wives  came 
clamouring  to  the  Admiralty  demanding  the  long- 
deferred  payment  of  their  husbands'  wages  while 
the  guns  of  De  Ruyter  could  be  heard  distinctly  from 
the  Tower  booming  down  the  Thames. 

In  1677  Hollar  died  in  wretched  poverty  in 
London.     As  he  lay  dying  the  bailiffs  entered  the 


ETCHING  67 

room  to  take  possession  of  the  bed  upon  which  he 
was  lying.  Most  of  his  prints  are  small  in  size,  we 
do  not  know  whether  this  was  by  choice  or  necessity. 
William  Blake  was  at  one  time  so  poor  that  he  had 
only  money  enough  to  buy  small  copper  plates  upon 
which  to  work  when  in  his  garret  near  the  Temple. 

The  portrait  of  Charles  L  here  reproduced  is  one 
of  ten  prints  Hollar  did  of  that  unhappy  king.  It 
may  be  procured  for  £2 ;  it  is  a  faithful  and  speaking 
likeness.  In  the  particular  example  from  which  this 
illustration  is  made  the  watermark  is  a  cardinal's 
hat  which  appears  pendant  over  the  king's  head. 
Charles  II.  in  armour,  with  emblems  of  the  rising 
sun,  if  in  fine  state  brings  about  £d>.  James  II.  when 
Duke  of  York,  in  an  oval  of  palms,  if  in  brilliant 
condition  may  realise  ;^50.  Charles  I.  ana  Henrietta 
Maria,  ovals  on  the  same  plate,  dated  1 641,  is  rare 
and  worth  over  £'^0.  The  Queen  alone  may  be 
bought  for  half  a  sovereign  to  a  sovereign — such 
are  the  fancies  of  collectors.  Hollar's  own  portrait 
sells  for  5s.  to  los.  Besides  portraits  and  figure 
subjects  he  executed  many  topographical  views, 
notably  the  View  of  London  from  the  top  of  Arundel 
House,  worth  15s.,  and  the  long  view  of  Greenwich. 
This  latter  is  on  two  large  plates,  for  which  Hollar 
is  said  to  have  received  only  30s.  from  an  avaricious 
publisher  named  Stent.  It  costs  the  collector  now- 
adays over  £1. 

Hollar  is  exceptionally  successful  in  his  reproduc- 
tion of  textures.  In  his  various  sets  representing  muffs 
and  furs  he  is  at  his  best.  In  a  plate  with  Five  Muffs, 
slightly  showing  the  wrists  of  the  owners,  his  treat- 


68  CHATS   ON  OLD  PRINTS 

ment  of  texture  is  exquisite.  This  brings  a  couple 
of  pounds  in  fair  condition.  There  is  a  set  of  Sea 
Shells  done  with  minute  exactitude  and  great  delicacy, 
over  forty  in  number,  which  may  be  procured  for  a 
five-pound  note.  A  set  of  Butterflies  of  microscopic 
detail,  twelve  in  number,  can  be  bought  for  15s. 

Out  of  the  two  thousand  odd  engravings  by 
Hollar  it  is  not  difficult  for  the  beginner  to  pick 
up  for  a  few  shillings  some  good  specimens  of  his 
work.  As  a  word  of  warning  it  may  be  said  that 
of  late  years  a  great  number  of  photographic  repro- 
ductions and  forgeries  have  appeared  on  the  market. 
They  are  of  fine,  smooth  paper,  and  very  thin.  After 
handling  a  score  or  so  of  prints  done  on  old  paper 
of  the  seventeenth  century  and  holding  the  paper 
up  to  the  light  to  see  its  characteristics,  the  beginner 
ought  not  to  be  caught  napping  by  these  German 
forgeries  sold  at  second-hand  booksellers'  shops  and 
by  minor  printsellers  for  a  shilling  apiece.  Some- 
times as  much  as  half  a  sovereign  is  asked  for  a 
"rare"  print  which  has  its  fellow  in  the  drawer  behind 
the  counter  ready  for  the  next  customer. 

Of  Sir  Anthony  Vandyck  as  an  etcher  we  shall 
have  as  little  to  say  as  of  other  masters  with  the 
needle.  Their  prices  are  beyond  the  reach  of  the 
beginner.  Claude  Gel^e,  called  Lorraine,  is  equally 
without  the  pale  of  the  novice's  first  flight.  Claude 
stands  pre-eminent  among  French  landscape  etchers. 
His  Liber  Veritatis^  a  collection  of  some  three  hun- 
dred drawings,  was  engraved  by  Earlom  a  hundred 
years  after  Claude's  death  in  1682. 

Etchings    of  the   Italian   school    from    Annabile 


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FROM  "  CRIES  OF  BOLOGNA  "  AFTER  CARACCI. 


Etched  by  Simon  Guillain. 
(Size  of  original  etchings  6^  in.  by  loj  in.) 


[To  face  page  68. 


ETCHING  6g 

Caracci  to  Stefano  della  Bella  with  his  fourteen 
hundred  subjects  we  must  dismiss,  as,  for  various 
reasons,  unlikely  to  appeal  to  the  beginner,  though 
of  Stefano  della  Bella,  who  was  contemporary  with 
Hollar,  there  are  many  fine  etchings  which  can  be 
obtained  for  little  expenditure.  The  illustration  from 
the  set  of  five  ovals  entitled  Tke  Five  Deaths^  repre- 
senting s-cenes  during  the  plague  in  Florence,  is  from  a 
print  which  cost  the  writer  a  shilling.     (Facing  p.  62.) 

Of  Jacques  Callot,  the  French  engraver  (1592- 
1635),  there  are  fourteen  hundred  known  plates,  and 
he  offers  a  field  to  the  young  collector.  His  subjects 
are  varied  in  character,  he  etches  festivals  and  tourna- 
ments and  jousts ;  he  is  at  home  with  sieges  and 
military  exercises.  He  faithfully  depicts  the  Miseries 
of  War,  His  Caprices  and  his  Fantasies  are  exuberant 
with  picturesque  joyousness  and  airy  treatment.  His 
figures  of  ladies  and  gallants  in  costume  are  as 
accurate  as  Hollar,  but  their  environment  is  Italy. 
There  is  a  touch  of  humour  in  much  of  his  work 
that  is  delightfully  piquant.  In  some  of  his  etchings, 
in  addition  to  the  use  of  the  needle  scratched  through 
hard  varnish,  a  method  of  his  own  invention,  he 
worked  on  the  plate  with  a  graver,  as  is  exhibited 
in  the  lozenge-work  in  the  shadows  in  the  illustration 
of  St,  Peter,  reproduced  from  a  set  depicting  the 
Lives  of  the  Apostles.  The  details  in  the  background, 
though  minute  and  rapidly  done,  show  various  inci- 
dents in  the  life  of  St.  Peter.     (Facing  p.  64). 

The  fine  set  of  grotesque  figures  Balla  di  Sfessania^ 
of  twenty-four  plates,  may  be  procured  for  a  little 
less  than  a  sovereign.  The  Life  of  the  Prodigal  Son^ 
of  eleven  plates,  may  be  bought  for  3s.  each. 


70  '  CHATS   ON  OLD  PRINTS 

We  reproduce  four  interesting  plates  by  Simon 
Guillain,  who  was  born  in  Paris  in  1581,  and  died  in 
that  city  in  1658.  The  whole  set  consists  of  eighty 
plates  etched  by  him  after  Annibale  Caracci's  Cries 
of  Bologna.  They  are  the  prototypes  of  Wheatley's 
Cries  of  London.  They  represent  a  Baker  with  his 
dishes  of  capons,  a  Rosary-vendor  armed  with  wire 
and  pincers  to  commence  repairs,  a  Pedlar  with  his 
pack,  and  an  Onion-seller  with  his  pole,  upon  which 
are  suspended  strings  of  onions,  not  a  whit  different 
from  the  Breton  peasant-lads  who  visit  this  country 
every  season.     (Facing  p.  68). 

It  gives  an  added  interest  to  the  print  collector  to 
find  little  touches  of  human  interest ;  he  will  fall  in 
a  muse  reflecting  on  the  suggestions  conveyed  by 
many  of  the  details  of  old  prints.  In  one  of  Holbein's 
pictures  there  is  a  merchant's  ledger  bound  with 
that  peculiar  cross-stitching  in  strips  of  white  vellum 
so  familiar  in  the  counting-house  nowadays.  Even 
the  costermonger  with  his  punnets  of  strawberries, 
apparently  so  cheap,  is  committing  a  very  stale 
fraud  by  filling  half  the  basket  with  fern  leaves. 
When  the  Pope's  Legate  entered  London  in  the  days 
of  Queen  Mary  with  his  cross  gleaming  from  the  prow 
of  his  barge,  a  man  and  a  woman  were  placed  in  the 
pillory,  so  writes  Henry  Machyn,  the  Pepys  of  that 
day,  in  his  Diary,  for  selling  pots  of  strawberries,  "  the 
which  the  pot  was  not  half  full,  but  filled  with  fern." 

The  pedlar  with  his  tray  of  gew-gaws  reminds 
one  of  Autolycus  in  the  Winter's  Tale  with  his 
song  of  his  wares — "  lawn  as  white  as  driven  snow," 
his  bugle-bracelets  and  amber  necklaces,  his  "golden 


rt 

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ETCHING  71 

quoifs  and  stomachers,"  and  "perfume  for  a  lady's 
chamber." 

Dutch  Seventeenth-Century  Etchers.  —  Of  Dutch 
seventeenth-century  etchers  there  is  more  than 
enough  to  satisfy  the  poor  collector.  The  Angler ^ 
(facing  p.  70)  is  from  an  etching  by  Adriaen  van 
Ostade,  cost  the  writer  5s.  The  Humpbacked  Fiddler^ 
The  Wife  Spinnings  The  Spectacle  Seller^  The  Child 
with  a  Dolly  are  all  well-known  etchings  by  him. 
These  etchings  are  in  the  manner  of  Rembrandt, 
though  a  long  way  removed  in  style.  Prices  of 
Ostade  vary  from  anything  up  to  ;^io.  But  since 
the  taste  for  collecting  him  has  grown  less  fashion- 
able his  prices  are  more  often  shillings  than  pounds. 

Ruisdael's  etchings  command  higher  prices,  but 
Adrian  Verboom,  Seghers,  Waterloo,  Roghman, 
Everdingen,  Bega,  Dusart,  Backhuysen,  Berghem 
(some  of  the  minor  plates),  Zeeman,  Jan  Both, 
K.  du  Jardin,  and  Paul  Potter,  though  the  last,  like 
Ruisdael,  is  much  sought  after,  are  all  within  the 
limits  of  the  beginner's  estimate  as  to  expenditure. 

Some  of  these  men,  Ostade  in  particular,  worked 
contemporaneously  with  Rembrandt,  and  most  of 
them  are  strongly  influenced  by  his  work  It  is  a 
period  too  little  regarded  by  the  average  collector, 
whose  love  of  prettiness  has  been  exploited  by 
fashionable  dealers  and  those  interested  in  influencing 
the  buying  tastes  of  the  public.  The  young  collector 
should  learn  to  think  for  himself,  and  put  aside 
the  dicta  of  those  more  interested  in  salerooms  and 
their  traditions  than  in  art  and  its  qualities.  If  he 
will  follow  his  own  instincts,  armed,  of  course,  with 


72  CHATS   ON  OLD  PRINTS 

every  possible  scrap  of  information,  and  trained 
by  the  constant  observation  of  good  examples,  he 
will  find  himself  in  the  possession  of  a  good  and 
a  valuable  collection  with  the  minimum  amount  of 
monetary  cost.  But  what  he  lacks  as  capital  in 
pounds,  shillings,  and  pence,  he  must  put  into  his 
hobby  in  indefatigable  industry,  and  strive  to  know 
thoroughly  that  particular  field  to  which  he  intends 
to  devote  himself. 

The  Revival  of  Etching. — The  next  great  period 
of  etching  brings  the  art  down  to  modern  days. 
M^ryon,  the  great  French  master,  stands  at  the 
head  of  the  French  revival.  Wilkie  and  Geddes, 
both  Scotsmen,  had  graduated  in  etching,  and  Crome 
had  bitten-in  his  favourite  Mousehold  Heath,  But 
these  stand  as  isolated  as  does  William  Blake  in 
his  poetry,  who  owned  no  immediate  literary  for- 
bears, and  whose  spirit  was  ahead  of  his  time.  These 
etchers'  work  coming  where  it  did  made  it  remarkable. 

The  revival  of  etching  in  France  was  heralded  by 
the  work  of  Ingres,  Delacroix,  and  Corot,  all  painters 
who  practised  etching.  But  M^ryon  (i  821-1868),  in 
the  middle  of  the  nineteenth  century,  was  the  great 
master  whose  freedom  of  line  portrayed  Paris  as 
he  saw  it  through  the  eyes  of  a  poet.  His  etchings, 
like  those  of  Rembrandt  before  him  and  Whistler 
and  Seymour  Haden  after  him,  are  most  highly 
esteemed  by  all  collectors.  Meryon  bravely  fought 
against  Fate.  Originally  a  painter,  he  was  obliged 
to  follow  etching  by  reason  of  colour-blindness. 
All  the  time  he  was  producing  his  masterly  plates 
he  endured  great  privation  and  received  little  recogni- 


a, 


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•«*«« 

>•»«»* 


ETCHING  73 

tion  in  his  own  day.  He  died  in  an  asylum  in  1868. 
In  a  fit  of  anger  he  destroyed  all  his  copper-plates, 
and  early  impressions  of  his  prints  are  very  rare. 
There  is  a  very  marked  difference  in  the  quality 
of  the  various  states  and  a  corresponding  difference 
in  the  prices  paid  for  them.  UAbsidede  Notre  Dame 
de  Paris,  etched  in  1853,  in  its  first  state  is  worth 
;^I35,  in  its  third  state  only  £6.  It  is  possible  to 
pick  up  the  third  state  of  Le  Pont  Neuf  for  30s. 

Other  well-known  French  etchers  are  Jules  Jacque- 
mart  (i  837-1 880),  whose  delicacy  of  treatment  and 
the  fine  rendering  of  texture  entitle  him  to  be 
regarded  as  the  ninateenth-century  Hollar.  He 
executed  a  number  of  wonderful  etchings  to  illus- 
trate his  father's  LHistoire  de  la  Porcelaine,  as  well 
as  a  great  many  plates  after  pictures  of  well-known 
masters.  His  Head  of  Christ,  after  Leonardo  da 
Vinci,  is  a  masterpiece  of  delicacy  and  refinement. 
Felix  Bracquemond,  Charles  Waltner,  Edmond  Yon, 
Chauvel,  Koepping,  and  Boulard  have  all  done 
masterly  interpretations  of  pictures.  Of  Gaucherel 
(18 16-1885),  whose  genius  raised  the  interpretative 
school  to  a  high  level,  we  illustrate  a  fine  etching 
after  Dupr^,  entitled  Les  Environs  de  Southampton, 
(Facing  p.  72). 

Maxime  Lalanne  (i 827-1 886),  one  of  the  greatest 
of  modern  French  landscape  etchers,  Appian,  Le 
Rat,  Helleu  and  Charles  Jacque  are  original  etchers, 
whose  work  should  not  be  beyond  the  reach  of  the 
beginner  whose  hesitancy  as  to  prices  is*  only  natural. 
We  give  an  illustration  of  an  etching  by  A.  Queyroy, 
entitled  A  Mestras,  which  is  masterly  in  its  simplicity. 


74  CHATS   ON  OLD  PRINTS 

Of  the  school  of  interpreters  a  few  shillings  ought 
to  procure  a  fair  print  by  any  of  the  group  above- 
mentioned,  and  the  happy  possessor  may  rest  assured 
that  he  has  got  a  fine  piece  of  etching.  Add  to  these 
the  names  of  Rajon,  Leopold  Flameng,  Mongin,  and 
Brunet-Debaines,  whose  works  after  the  old  masters 
have  been  familiarised  in  this  country  by  the  untiring 
efforts  of  Philip  Gilbert  Hamerton,  whose  profound 
criticisms  of  art  in  the  pages  of  the  Portfolio  were 
the  delight  of  a  past  generation. 

The  canvases  of  Meissonier  have  been  interpreted 
by  a  crowd  of  masterly  French  etchers,  whose  work 
is  much  sought  after  by  collectors  and  is  rising  in 
value.  Chief  among  these  men  are  F.  Bracquemond, 
J.  Jacquet,  A.  Jacquet,  A.  Boulard,  E.  Boilvin,  Charles 
Courtry,  A.  Jamas,  A.  Mignon,  A.  Lalauze,  H.  Vion, 
E.  Chiquet  and  L.  Monzies. 

It  is  impossible  here  to  deal  with  the  work  of 
Seymour  Haden  and  Whistler.  It  is  amazing  in 
its  fecundity,  and  filled  with  every  subtlety  of  the 
art.  One  does  not  commence  one's  musical  educa- 
tion with  "Tannhaiiser"  nor  even  with  the  "  Moonlight 
Sonata."  The  student  will,  before  he  has  advanced 
many  years,  come  across  some  of  the  beauties  of 
these  two  modern  masters,  and  if  he  has  profited 
by  his  first  steps  he  will  stand  abashed  at  the 
incomparable  technique  of  these  giants,  who,  with 
Rembrandt  and  Meryon,  rank  as  the  world's  greatest 
etchers. 

If  possible,  endeavour  to  see  Whistler's  Black 
Lion  Wharf  his  Thames  Police^  and  his  Balcony^ 
Amsterdam.     Of  Sir  Francis  Seymour   Haden,   On 


A   MESTRAS. 

From  etching  by  A.  Queyroy, 
(Size  of  original  etching  6  in.  by  8J  in.) 

(An  enlargement  of  a  portion  of  this  appears  opposite  p.  36.) 


[To  face  page  74. 


ETCHING  75 

the  Test,  Erith  Marshes,  1865,  and  Sunset  on  the 
Thames  are  most  representative. 

The  reader  by  this  time  will  have  seen  that  etching 
is  divided  into  three  broad  classes.  And  the  order 
in  which  they  are  placed  below  is  that  of  their 
relative  value. 

In  the  first  rank  of  etchers  are  those  who  conceived 
their  own  designs  and  etched  them  in  swift  lines 
with  the  needle  on  the  copper,  as,  for  example, 
Rembrandt,  Meryon,  Seymour  Haden,  and  Whistler. 
Meryon,  before  his  grand  period  (1850-1854),  did 
not  disdain  to  etch  after  Salvator  Rosa  and  other 
old  masters,  and,  similarly,  Lalanne,  Bracquemond, 
and  others  translated,  in  addition  to  producing 
original  work.  But  it  is  the  latter  which  entitles 
them  to  come  under  this  first  class. 

Next  in  order  come  the  etchers  who  translated 
their  own  paintings  into  black  and  white,  as  did 
the  Dutch  etchers  of  the  seventeenth  century. 

Lastly  there  are  the  etchers  who  have  limited 
themselves  to  interpreting  the  paintings  of  other 
men,  either  old  masters  or  contemporary  painters, 
The  great  exponents  of  this  class  are  Gaucherel, 
Waltner,  Rajon,  and  others  of  the  modern  French 
school,  and  Unger  of  Austria. 

Line  engravers  and  mezzotinters  have  also  used 
etching  in  conjunction  with  their  work,  to  which 
allusion  will  be  made  later.  Turner  was  a  masterly 
etcher,  but  used  it  as  a  means  to  an  end,  as  will  be 
explained  subsequently. 

Modern  etching  does  not  come  under  the  heading 
of  old  prints,  but  Mr.   Frank  Short   has  produced, 


76  CHATS   ON   OLD  PRINTS 

and  is  happily  producing,  some  masterpieces.  His 
translations  of  the  works  of  Turner  and  Constable 
and  other  masters  are  well  known,  but  above  all  the 
poetic  sense  of  stillness  he  weaves  into  his  etchings 
of  sand  dunes  and  low-lying  country  is  most  pro- 
found. His  Low  Tide  and  the  Evening  Star  is  a  fine 
example  of  his  etching.  M.  Alphonse  Legros,  whose 
etchings  have  mainly  been  done  in  this  country, 
is  responsible  for  much  of  the  impetus  given  to  this 
art.  Mr.  R.  S.  Chattock  in  his  Old  Moat,  etched 
in  1 87 1,  Mr.  William  Strang  in  his  Prodigal  Son, 
Mr.  C.  J.  Watson  in  his  Chelsea,  Colonel  Goff  in  his 
Pool,  Aldrington,  Mr.  Frederick  Slocombe  in  his 
Where  Many  Branches  Meet,  and  Mr.  Edward 
Slocombe  in  his  Rouen  Cathedral,  Mr.  Oliver  Hall 
in  his  Showery  Weather,  and  Mr.  Frederick  B. 
Burridge  in  his  Wisht  Weather,  have  all  produced 
gems  of  etching  worthy  of  the  best  traditions  and 
worthy  to  uphold  the  dignity  of  English  art. 

It  is  the  hope  of  the  writer  that  this  catalogue 
of  fine  and  masterly  work  may  induce  the  careless 
reader  whose  foot  may  stray  into  other  paths  to 
turn  and  carefully  contemplate  some  of  the  work — 
great  work  and  lasting  work — that  etchers  have 
produced  within  the  past  twenty  years. 

The  list  is  incomplete ;  there  are  many  names 
crowded  out  for  want  of  space,  but  the  beginner 
will  readily  learn  with  the  aid  of  these  examples 
to  discern  what  good  work  is  like,  and  if  these  few 
sentences  that  have  been  written  will  induce  one 
blade  of  grass  to  grow  where  none  has  grown  before, 
the  writer  will  not  think  his  task  barren  of  reward. 


Ill 

WOOD 
ENGRAVING 


CHAPTER   III 

WOOD     ENGRAVING 

The  technique  of  wood-cutting — The  old  masters — Albert 
Dtirer  and  the  German  school — Holbein — The  Italian 
wood-cutters — Early  illustrated  books  in  England — 
Its  decline  in  the  seventeenth  century — Bewick  and 
the  revival  in  England — The  followers  of  Bewick. 

The  Technique. — Engraving  upon  wood  is  a  method 
of  cutting  away  from  the  surface  of  the  wood  block 
all  those  parts  not  drawn  upon  by  the  artist,  thus 
leaving  the  design  standing  in  relief,  just  as  the 
letters  of  type  as  used  in  printing. 

The  method  of  wood  engraving  is  exactly  the 
opposite  of  engraving  on  metal,  in  which  the 
portions  of  the  print  required  to  be  left  white 
remain  untouched,  while  the  design  is  dug  out  of 
the  metal.  In  wood  engravings  the  portions  in- 
tended to  print  black  are  left  even  with  the  surface, 
and  the  white  parts  are  cut  out. 

In  the  early  days  of  the  art  pear  and  sycamore 
wood  were  used  and  the  designs  were  cut  with  a 
knife  on  the  plank,  that  is  with   the  grain   of  the 

79 


80  CHATS  ON  OLD  PRINTS 

wood.  In  Bewick's  day  the  wood  used  was  box- 
wood and  the  engraver  worked  across  the  grain, 
and  in  place  of  a  knife  he  used  a  graver. 

The  design  on  a  wood  block  is,  as  are  all  the 
designs  for  metal  or  lithography,  drawn  in  reverse, 
because  an  impression  has  to  be  taken  on  the  paper 
upon  which  it  is  printed. 

It  is  not  necessary  to  enter  into  the  early  history 
of  wood-cutting.  Strong  controversies  have  been 
waged  between  savants  as  to  whether  it  was  first 
employed  for  religious  pictures  or  for  playing-cards. 
The  earliest  typographical  work  containing  wood- 
cuts of  figures  illustrative  of  the  text  appeared  in 
the  middle  of  the  fifteenth  century  in  Germany. 
The  growth  of  printing  and  its  universal  extension 
is  bound  up  with  the  use  of  woodcuts  in  early 
printed  volumes,  and  they  held  their  own  up  to  the 
last  decade  of  the  nineteenth  century,  when  the 
process  block  drove  them  from  the  field. 

All  engraving  on  metal  is  costly  and  is  in- 
convenient to  print  separately,  whereas  wood  blocks 
can  be  printed  side  by  side  with  the  letterpress. 
This  gave  long  life  to  wood  engraving  and  made 
it  always  a  formidable  rival  to  all  forms  of  metal 
engraving. 

The  Old  Masters. — In  PVance  a  style  was  practised 
termed  the  criblh^  or  dotted  style,  from  the  fact  that 
the  block  was  punctured  with  holes,  which  printed 
white.  This  method  soon  gave  place  to  the  cutting 
of  ordinary  black  lines.  At  first  the  woodcuts  were 
decorative  in  quality,  as  decorative  as  stencilling. 
They  were  simply  black  lines  on   a   white   surface. 


SAMSON   SLAYING   THE    LION. 


From  a  woodcut  after  Albert  Diirer. 
(Size  of  original  4  in.  by  5J  in.) 
(An  Enlargement  of  a  portion  of  this  appears  opposite  p.  38.) 


[To  face  page  80. 


WOOD  ENGRAVING  8 1 

That  is  white  surfaces  were  cut  away  from  the  wood, 
leaving  these  black  lines  standing  in  relief  ready  to 
be  inked  and  printed  with  type. 

Before  the  practice  of  wood-cutting  had  gone  very 
far  shading  was  employed  and  cross-hatching  was 
used.  Cross-hatching,  of  black  lines  crossing  each 
other,  is  an  easy  thing  in  metal  engraving,  as  such 
lines  can  readily  be  cut  by  the  graver,  whereas  the  wood 
engraver  does  not  cut  the  lines  out  of  his  block  but 
has  to  cut  with  great  care  the  little  white  interstices. 

A  great  impetus  was  given  to  wood  engraving  by 
the  genius  of  Albert  Diirer  (1471-1578)  and  by 
Hans  Holbein  (1497-1543).  It  should  be  mentioned 
that  it  is  doubtful  if  Diirer  ever  cut  his  own  blocks 
or  even  drew  on  the  wood.  It  is  possible  to  arrive 
at  this  conclusion  by  inference.  He  was  too  great 
a  genius  to  have  missed  the  essential  qualities  of  the 
technique  of  wood-cutting.  But  in  Diirer  woodcuts 
we  find  lozenge-work  and  cross-hatching  and  a 
departure  from  mere  outline  which  he  would  hardly 
have  employed  if  he  had  used  the  knife  himself 
In  the  illustration  we  give  of  Albert  Durer's  Samson 
Slaying  the  Lion  the  number  of  lines  must  have 
been  a  sore  trial  to  the  wood-cutter.  An  enlarge- 
ment of  a  portion  of  this  is  given  in  Chapter  I 
(opposite  p.  38.) 

It  is  hardly  necessary  to  prove  this  point  by 
calling  attention  to  the  fact  that  some  of  the  Diirer 
woodcuts  were  subsequently  engraved  by  him  on 
copper,  as,  for  instance,  the  series  of  woodcuts,  The 
Great  Passion^  afterwards  rendered  in  copper.  The 
Great  Passion^  consisting  of  twelve  folio  cuts,  and 

6 


82  CHATS   ON  OLD  PRINTS 

the  Little  Passion  of  thirty-seven  small  cuts,  are  his 
best  known  wood  engravings.  Thirty-five  of  the 
original  wood   blocks  are  in  the  British  Museum. 

Hans  Holbein,  in  his  well-known  Dance  of  Death 
series  of  cuts,  reaches  the  high-water  mark  of  wood 
engraving.  These  were  in  all  probability  cut  by 
Hans  Lutzelburger. 

This  remarkable  series  has  been  not  only  copied 
by  various  engravers  but  has  been  pirated  in  every 
conceivable  manner.  The  first  edition  was  published 
at  Lyons  in  1538,  consisting  of  forty-one  cuts.  It 
was  many  times  reprinted  there.  In  all  the  editions 
subsequent  to  the  third,  which  appeared  in  1545, 
additional  cuts  are  introduced.  The  eighth  edition 
of  1562  contains  fifty-eight  cuts.  Piracies  were 
published  at  Venice  in  1545  and  at  Cologne  in 
1555,  and  subsequently  at  other  places  with  the 
subjects  engraved  on  copper.  Hollar  etched  about 
thirty  of  the  subjects  after  a  Cologne  edition. 

Even  Holbein  was  hardly  original,  as  the  subject 
had  appealed  to  former  artists  and  was  not  un- 
commonly represented  in  the  fifteenth  century  on 
the  walls  of  cloisters  of  churches.  At  Lubeck,  at 
Leipsic,  at  Dijon,  at  Paris,  and  at  old  St.  Paul's 
in  London  there  is  a  record  of  the  subject,  known 
in  France  at  the  end  of  the  fifteenth  century  under 
the  title  of  the  Danse  Macabre.  It  was  quite  a 
favourite  subject  with  old  artists,  especially  of  the 
German  school,  to  depict  Death  at  its  ghastly  work. 
The  great  text  of  all  these  artists  was,  "  In  the  midst 
of  life  we  are  in  death,"  and  the  subject  appears 
repeatedly. 


THE   PREACHER. 

From  a  woodcut  by  Liitzelburger. 

(An  enlargement  of  a  fortion  of  this  appears 

opposite  p.  38.) 


THE    PLOUGHMAN. 
From  a  woodcut  by  Liitzelburger. 

AFTER   HOLBEIN'S   "  DANCE   OF  DEATH 

SERIES. 

{Same  size  as  original  woodcuts.) 


[To  face  page  82. 


WOOD  ENGRAVING  83 

The  King  of  Terrors  had  an  especial  fascination 
for  delineators  of  the  fifteenth  and  sixteenth  century. 

"The  scytheman  of  the  earth 
Whose   harvest   rounds   the  year ;    who   ne'er    had 

dearth 
Since  first  the  world  was  peopled," 

is  depicted  with  loving  carefulness  by  Durer,  by 
Burgkmair,  and  by  Lucas  Cranach  as  though  they 
revelled  in  the  gruesome  thought,  expressed  by  the 
statue  of  Rollo,  the  old  Norman  at  Rouen,  whose 
forefinger  silently  pointing  to  the  dust,  has  hardly 
need  for  the  inscription :  "  Great  lords  and  simple 
serfs — we  all  must  come  to  this." 

In  the  illustrations  we  give  of  two  cuts  from 
Holbein's  Dance  of  Deaths  it  will  be  seen  how 
the  technique  subordinates  itself  to  the  design. 
In  good  wood-cutting  black  lines  never  cross  each 
other.     (Facing  p.  82). 

It  will  be  seen  that  the  design  is  drawn  with  the 
fewest  possible  lines.  The  Preacher^  expounding 
the  Scriptures  to  his  flock,  is  being  summoned  by 
Death,  unseen  and  unheeded  by  either  the  preacher 
or  the  listeners.  An  enlargement  of  a  portion  of 
this  is  given  (Chapter  I.  opposite  p.  38). 

In  the  little  cut  of  Death  harrying  the  teamster's 
horses,  the  Ploughman  has  reached  his  last  furrow, 
the  sun  is  setting,  and  the  weary  man  is  unmindful 
of  the  stroke  of  fate  that  is  about  to  strike  him  down. 

The  Pope,  the  Emperor,  the  King,  the  Cardinal, 
the  Rich  Man,  the  Young  Child,  the  Duchess,  the 


84  CHATS   ON   OLD  PRINTS 

Gambler,  the  Drunkard,  and  many  others  are 
depicted  as  having  with  them  an  unseen  visitor. 

"  The  stately  Queen  his  bidding  must  obey  ; 
No  keen-eyed  Cardinal  shall  him  affray ; 
And  to  the  Dame  that  wantoneth,  he  saith — 
'Let  be,  Sweetheart,  to  junket  and  to  play.' 
There  is  no  king  more  terrible  than  Death." 

Down  the  centuries  come  the  sturdy  lines  of  the 
old  woodcut  enjoining  the  Fool  to  lay  by  his 
folly,  "  This  night  thy  soul  shall  be  required  of 
thee."  It  is  this  solemn  message  engraven  into 
unenduring  wood  and  impressed  on  perishable 
paper  that  has  stirred  the  lover  of  old  prints 
and  bidden  him  take  heed  of  the  fate  that  over- 
taketh  us  all.     It  is  the  one  thing  Immutable. 

"He  spares  not  Lazarus  lying  at  the  gate, 
Nay,  nor  the  Blind  that  stumbleth  as  he  may  ; 
Nay,  the  tired  Ploughman — at  the  sinking  ray — 
In  the  last  furrow, — feels  an  icy  breath. 
And  knows  a  hand  hath  turned  the  team  astray. — 
There  is  no  king  more  terrible  than  Death." 

Italian  wood  engraving  exhibits  more  gracefulness, 
if  less  power,  and  the  woodcuts  in  early  books  of 
Italy  have  occupied  very  special  study.  Fisher's 
work  on  "  Italian  Engravings,"  Dr.  Lippmann  in 
his  "  Italian  Wood  Engraving  in  the  Fifteenth  Cen- 
tury," and  Mr.  Pollard's  "  Early  Illustrated  Books  " 
deal  with  great  learning  with  this  period  of  the  art 


VENUS   AND    CUPID. 


From  a  woodcut  hy  Jost  Amman. 
{Size  of  original  woodctit  4I  in.  by  6\  in.). 


[To  face  pasle  84. 


WOOD  ENGRAVING  85 

when  Milan,  Verona,  and  Ferrara  vied  with  Venice 
and  Florence  in  their  presses,  the  latter  city  late  in 
the  century  producing  Savanarola's  tracts  illustrated 
with  some  fifty  woodcuts. 

There  is  a  monotonous  level  in  much  of  the  old 
wood-cutting.  The  art  as  practised  in  early  days 
was  not  to  be  compared  with  contemporary  work 
on  metal.  It  is  cruder,  coarser,  and  limited  in  its 
range.  Among  the  most  noticeable  of  the  early 
work  is  that  of  Durer's  cutters,  as,  for  instance, 
Hans  Springinklee,  of  Nuremburg,  who  resided  at 
Durer's  house  ;  Altdorfer  and  Burgkmair,  pupils  of 
Diirer ;  Lucas  Cranach  (1472-1553),  Hans  Sebald 
Beham  (i 500-1 550),  Hans  Baldung  (1472-1553), 
and  Liitzelburger,  of  Basle,  who  worked  for 
Holbein.  Of  Jost  Amman,  who  came  from  Zurich 
to  work  at  Nuremburg  from  1560  till  his  death  in 
1 591,  we  give  a  spirited  design.     (Facing  p.  84). 

Lucas  Jacobsz,  called  Lucas  van  Leyden,  a  con- 
temporary of  Durer,  painter,  engraver,  and  wood- 
cutter, performed  the  same  mission  for  Holland  that 
Diirer  was  doing  for  Germany  in  art,  and  Dirk  de 
Bray,  of  Leyden,  carried  on  the  old  traditions  in  the 
middle  of  the  seventeenth  century. 

To  descend  to  prices  the  beginner  need  not  be 
afraid  of  the  smaller,  or  rather  of  the  lesser,  known 
men.  It  was  at  one  time  fashionable  to  collect  the 
great  masters,  but  there  is  still  room  for  the  amateur 
who  loves  and  appreciates  his  subject  to  procure 
good  specimens  at  a  low  figure.  LUtzelburger's  cuts 
are  all  rare,  the  others  we  have  named  have  mostly 
found  their  way  into  well-known  collections,  but  Jost 


86  CHATS   ON   OLD  PRINTS 

Amman  may  often  be  found  at  a  reasonable  price. 
His  Marriage  at  Cana  may  be  bought  for  fifteen 
shillings. 

Thomas  Bewick  (1758-1828).— The  seventeenth  century 
saw  the  decline  of  wood-cutting,  and  in  England  the 
eighteenth-century  examples  are  little  other  than 
chap-books  and  roughly-hewn  illustrations  to  broad- 
sides till  the  advent  of  Thomas  Bewick. 

The  student  will  by  this  time  have  noticed  that  the 
term  wood-cutting  has  been  continuously  employed 
in  speaking  of  the  art  up  to  this  time. 

Later  it  will  be  shown  how  modern  wood  en- 
graving is  quite  distinct,  being  based  on  different 
principles.  Bewick  stands  at  once  as  the  great 
exponent  of  the  possibilities  of  the  art.  He  led  all 
who  followed  him  to  realise  the  capabilities  of  the 
wood  block.  He  himself  rigidly  adhered  to  the 
limitations  of  wood.  He  never  crossed  black  lines. 
He  was  not  the  inventor  of  the  white  line,  but  he 
used  it  freely  and  adapted  his  designs  accordingly. 
He  was  more  rigid  in  his  adherence  to  the  qualities 
of  the  wood  block  than  were  some  of  the  primitive 
wood-cutters.  Bewick  was  at  once  a  pioneer  and 
a  masterly  adapter.  He  stands  between  the  old 
masters  and  the  modern  school  who  grasped  his 
technique,  and  in  so  doing  diverted  the  art  into 
new  channels. 

In  the  illustrations  here  given  the  first  is  a  photo- 
graph of  the  actual  wood-block  itself,  showing  its 
appearance  and  actual  size.  It  is  of  hard  boxwood 
and  is  engraved  across  the  grain.  The  block  is 
square,  and  the  sky  showing  the  lumpy  appearance 


PHOTOGRAPH    OF   BEWICK   WOOD-BLOCK, 

{Same  size  as  oris^inal.) 
(In  possession  of  the  Author.) 


WOOD    ENGRAVING    PRINTED    FROM   ABOVE    BLOCK. 

\To  face  page  86. 


WOOD  ENGRAVING  8/ 

is  dug  out  with  a  scooper  and  is  i-i6th  of  an  inch 
below  the  other  portions  of  the  block,  and  is  not 
intended  to  appear  in  the  work.  Underneath  is  an 
illustration  of  the  wood  engraving  printed  from  this 
block.  It  exhibits  Bewick's  early  manner  and  is  not 
so  detailed  in  finish  as  some  of  his  smaller  wood 
engravings.  The  use  of  white  line  freely  cut  is 
noticeable.  It  will  be  seen  by  the  upper  illustration 
that  the  calf  of  the  man's  leg  appears  as  a  furrow 
scooped  out  which  prints  white  in  the  wood  en- 
graving below.  The  broad  use  of  white  line  is 
shown  in  the  thigh ;  each  of  these  lines  is  a  free 
cut  by  the  graver  which  prints  as  a  white  line. 

Bewick  founded  a  school  at  Newcastle-on-Tyne, 
and  his  influence  in  his  own  day  and  subsequently, 
up  to  a  period  immediately  preceding  i860,  was 
most  marked.  Among  his  best  known  work  are 
his  "British  Quadrupeds,"  first  published  in  1790; 
his  "  History  of  British  Birds,"  of  which  the  first 
volume,  "Land  Birds,"  was  published  in  1797;  the 
second  volume  on  "  Water  Birds"  appeared  in  1804. 
His  large  edition  of  "  -^sop's  Fables  "  was  issued  in 
1 81 8,  not  to  be  confounded  with  his  early  prentice 
work  on  "Gay's  Fables  "done  in  1779,  or  with  his 
"Select  Fables"  engraved  in  1784. 

He  has  the  merit  of  drawing  with  accurate  detail 
the  natural  history  subjects  he  illustrated.  Of  the 
"  Birds "  he  contrived  to  convey  a  remarkably  sug- 
gestive picture,  with  the  plumage  and  especial 
markings  ably  represented.  In  addition,  too,  he 
puts  poetic  touches  on  woodland  or  moorland  or 
river  background  which  place  his  subjects  in  their 


88  CHATS   ON   OLD  PRINTS 

natural  environment.  In  the  vignettes  and  tail- 
pieces he  exhibits  a  fine  feeling  for  the  qualities 
of  landscape. 

In  the  first  volume  of  "  Birds  "  the  Turkey  and  the 
Domestic  Cock  are  faithful  portraits ;  he  himself 
considered  the  Yellow  Bunting  as  the  best  he  ever 
engraved.  In  the  second  volume  the  Common  Duck 
is  simply  drawn,  but  with  a  masterly  regard  to  the 
technique  of  wood  engraving  and  its  legitimate  use. 

There  is  a  very  fine  engraving  in  the  "Quadrupeds" 
of  a  young  child  standing  dangerously  near  the  heels 
of  a  colt.  It  is  only  some  two  inches  by  three,  but 
its  size  does  not  detract  from  its  strength  and  beauty. 
If  the  reader  will  lovingly  turn  over  some  of  the 
early  editions  of  Bewick  and  linger  over  the  vig- 
nettes and  tailpieces  he  has  introduced,  viewing  them 
with  care  through  a  magnifying  glass,  he  will  find 
himself  in  a  realm  of  pictorial  beauty. 

In  order  to  appreciate  the  command  which  Bewick 
had  over  the  exigencies  of  the  wood-block  and  his 
strenuous  use  of  white  line  as  often  as  possible,  as 
being  more  readily  engraved,  the  two  illustrations 
placed  adjacent  will  explain  the  differing  technique 
of  copper  and  of  wood.  They  are  both  illustrative 
of  the  old  fable  of  the  contest  between  the  Sun  and 
the  Wind  over  a  traveller  as  to  which  of  these  two 
could  the  sooner  prevail  upon  him  to  relinquish  his 
cloak.  We  know  that  in  the  end  after  blustering 
Boreas  had  made  the  man  wrap  his  cloak  around 
him  the  closer,  that  Phoebus  achieved  an  easy 
victory  by  melting  the  traveller  with  his  warm 
and  insinuating  rays.     (Facing  p.  88.) 


illlllllillB^^^^il^mlilllllli 


THE   SUN   AND   THE   WIND. 

From  a  wood  engraving  by  Bewick. 

(Same  size  as  original.) 


3^  *  «  »  » 
*  i*  *  *  »■* 
>  ■»      >  •  » 


THE   SUN   AND  THE  WIND. 

From  a  copper  engraving  by  H.  Cause. 

{Same  size  as  original.) 

The  technique  of  copper  and  wood  engraving  compared. 

[To  face  page  8 


WOOD  ENGRAVING  89 

The  one  is  from  an  edition  of  the  "  Fables  of  La 
Fontaine,"  published  in  1728,  and  is  an  engraving 
on  copper  by  Henri  Cause.  Here  the  graver  in  its 
work  on  the  copper  plate  has  with  ease  produced 
black  lines  as  shown  in  the  rays  of  the  sun  stretched 
across  the  sky,  and  with  equal  ease  the  clouds  and 
the  foreground  are  elaborately  cross-hatched. 

The  other  is  from  an  edition  of  Bewick's  "  Select 
Fables,"  first  published  in  1784.  The  white  line  is 
predominant  everywhere.  The  clouds  in  the  sky  are 
nothing  but  white  lines.  The  bent  sapling  on  the 
left  is  white  against  a  black  background,  the  bank 
with  foliage  by  the  roadside  is  cross-hatched  in 
white,  and  the  flying  rain  was  produced  by  slight 
and  delicate  strokes  with  the  graver. 

Of  the  school  of  Bewick  there  are  Luke  Clennell 
and  Charlton  Nesbit,  both  of  whom  have  engraved 
illustrations  to  Bewick's  works.  Poor  Clennell  and 
his  wife  both  became  insane,  and  the  latter  dying  left 
three  motherless  children.  William  Harvey,  John 
Thompson,  Robert  Branston,  John  Jackson,  J.  W. 
Whymper,  and  W.  J.  Linton,  the  author  of  a  volume, 
"  The  Masters  of  Wood  Engraving,"  are  all  men 
whose  work  worthily  carried  on  the  traditions  which 
Bewick  first  inculcated  in  his  great  pioneer  work  in 
inaugurating  the  revival  of  wood  engraving. 

Some  mention,  too,  should  be  made  of  George 
Baxter,  a  wood  engraver,  who  invented  a  means, 
which  he  patented  in  1830,  of  reproducing  oil 
paintings  in  colour  by  having  two  or  three  printings 
from  the  blocks  after  colour  had  been  applied  to 
them. 


go  CHATS   ON   OLD  PRINTS 

In  regard  to  the  style  of  the  school  of  Bewick, 
most  of  the  engravers  were  draughtsmen  too.  Clen- 
nell  abandoned  wood  engraving  for  painting.  The 
next  stage  of  facsimile  wood  engraving  reversed 
all  Bewick's  theories  and  cut  everything  away  not 
drawn  on  the  block  by  the  designer.  The  tint  style 
of  Bewick  made  the  wood  engraver  something  more 
than  a  mere  craftsman,  he  had  to  invent  a  set  of 
lines  of  varying  depth  and  strength  to  convey  his 
subject  in  his  own  manner.  Bewick  worked  from 
dark  to  light.  The  more  lines  there  were  the  lighter 
the  tone ;  in  facsimile  work  the  greater  the  number 
of  lines  the  darker  the  tone. 

In  modern  days  the  use  of  the  white  line  has  been 
practised  in  every  conceivable  fashion.  The  back- 
ground has  been  stippled  and  rouletted  with  a  fine 
gradation  of  tone,  translations  of  the  canvases  of 
old  masters  have  been  produced  in  which  the  result 
has  been  obtained  by  engraving  the  wood-block  with 
a  network  of  white  lines.  The  latest  school  again 
work  from  dark  to  light,  and  by  the  wonderful 
results  obtained  and  the  range  and  variety  of 
treatment,  Bewick  is  more  than  justified. 


IV 

WOOD 
ENGRAVING 
THE  VICTORIAN 
FACSIMILE 
SCHOOL 


CHAPTER   IV 

WOOD  ENGRAVING— THE  VICTORIAN   FACSIMILE 
SCHOOL 

Wood  engraving  in  the  fifties — Pre-Raphaelite  designers 
— Rise  of  illustrated  journalism — Shops  of  en- 
gravers— The  first  use  of  photography — Pen 
drawings  and  wash  drawings — What  to  collect. 

In  less  than  a  quarter  of  a  century  after  Bewick's 
day  wood  engraving  fell  into  lean  years.  Various 
causes  contributed  to  this,  not  the  least  being  the 
rise  of  steel  engraving.  Bewick  was  a  masterly 
designer ;  he  engraved  on  metal  and  he  engraved 
on  wood.  He  could  with  ease  translate  a  wash- 
drawing  painted  on  the  wood-block  into  line.  The 
generations  of  wood  engravers  succeeding  him  did 
not  always  realise  the  necessity  of  mastering  this 
art  of  translation.  In  consequence  they  fell  into 
the  hands  of  designers.  A  glance  at  illustrated 
books  of  the  fifties  and  immediately  preceding  that 
date  will  show  how  it  came  to  pass  that  the  etched 
copper-plate  was  used  by  Cruickshank  and  by 
"  Phiz  "  (Hablot  K.  Browne).  The  copper-plate  had 
presented    the    same    technical    difficulties    to    the 

93 


94  CHATS   ON   OLD  PRINTS 

eighteenth-century  printers  because  it  cannot  be 
printed  simultaneously  with  the  letterpress  as  can  a 
wood  block  ;  but,  in  spite  of  this,  steel  engraving 
had  begun  to  be  very  popular  in  illustrated  books. 

The  whole  practice  of  wood  engraving  in  the  early 
and  middle  nineteenth  century  was  wrong  when  it 
became  necessary  to  employ  a  crowd  of  professional 
draughtsmen  on  wood.  The  wood  engraver  was  no 
longer  an  artist,  and  by  the  loss  of  his  hold  upon  art, 
he  paved  the  way  for  photography  which  has  so 
successfully  displaced  him. 

One  or  two  facts  had  a  great  influence  on 
succeeding  developments.  The  Illustrated  London 
News^  founded  in  1842,  gave  an  impetus  to  the 
wood  engraver,  and  opened  up  a  new  field  closed 
to  the  engrg-ver  on  metal.  This  was  the  beginning 
of  modern  illustrated  journalism.  The  early  Victorian 
drawing-room  was  another  factor  in  the  problem. 
Our  forbears  loved  to  decorate  their  drawing-room 
tables  with  a  series  of  sumptuous  volumes  arranged 
as  the  spokes  of  a  cart-wheel.  The  "  Keepsake,"  the 
"  Book  of  Beauty,"  and  others  of  a  similar  character, 
embellished  with  minute  steel  engravings,  were 
produced  to  supply  this  demand.  But  the  wood 
engraver  did  not  stand  idly  by  and  see  his  art 
without  patron  ;  he  strove  to  compete  with  the  steel 
engraver,  and  so  it  came  about  that  many  fine 
volumes  with  illustrations  printed  on  india-paper 
were  issued  having  wood  engravings  as  intricate  as 
steel  engravings.  An  edition  of  Gray's  "  Elegy,"  illus- 
trated by  Birket  Foster,  published  in  1854,  had  wood 
engravings  in  imitation  of  etchings  ! 


' :  » > '  > 


THE   DIPPING   PLACE. 

From  a  wood  engraving  by  Dalziel,  after  Birket  Foster. 
(Size  of  original  engraving  5|  in.  by  7  in.) 

By  kind  permission  of  Messrs.  Routlcdgc  &  Sons. 


[To  face  page  94. 


WOOD  ENGRAVING — VICTORIAN  SCHOOL  95 

From  about  the  years  1 860  to  1 870  —  the 
classification  is  a  rough  one — many  distinguished 
artists  drew  on  the  wood  block,  and  their  drawings 
were  cut  in  facsimile  by  the  wood  engraver,  and 
printed  either  as  illustrations  to  periodicals  or  books. 

Millais,  Rossetti,  and  Arthur  Hughes  did  the 
drawings  for  William  Allingham's  "  Music  Master," 
which  was  published  in  1855.  The  wood  engravings 
were  executed  by  the  Dalziel  Brothers,  who  take  a 
leading  part  in  all  that  has  to  be  written  about 
the  facsimile  wood  engraving  of  the  middle  Victorian 
period. 

In  1857  appeared  the  Poems  of  Tennyson,  pub- 
lished by  Moxon,  in  which  some  of  the  pre- 
Raphaelite  school  made  their  essay  into  design. 
Rossetti  and  Millais  did  fine  drawings,  and  Holman 
Hunt  claims  the  recognition  of  posterity  in  his 
weirdly  beautiful  conception  of  The  Lady  of  Shalott. 

In  1858  Messrs.  Routledge  published  an  edition 
of  Shakespeare,  filled  with  the  flowing  designs  of 
John  Gilbert,  a  whole  gallery  of  Shakesperian 
characters,  the  delight  of  one's  childhood. 

Once  a  Week  was  first  published  in  1859,  and 
Good  Words  and  the  Cornhill  Magazine  in  i860. 
George  Eliot's  "  Romola  "  appeared  in  Cornhill  with 
the  powerful  illustrations  of  Leighton  engraved  by 
Dalziel.  The  early  numbers  of  Good  Words  con- 
tain the  work  of  Orchardson,  McWhirter,  and 
Pettie.  Charles  Keene,  afterwards  more  famous  in 
Punchy  made  his  early  attempts  here  and  in  Once 
a  Week.  He  was  really  a  generation  before  his 
time.      The    camera    would    have    done    as    much 


g6  CHATS    ON   OLD   PRINTS 

justice  to  him  as  it  did  to  Phil  May.  He  writes 
that  his  design  "fell  before  the  graver  of  Swain." 
But  Keene  is  admittedly  the  finest  master  of  the  art  of 
drawing  on  wood  with  pen  and  ink  we  have  ever  had. 
His  use  of  lines  of  different  thickness  to  give  the  illu- 
sion of  texture,  colour,  or  even  weather  was  profound. 

Rossetti  writes  in  1857  of  his  blocks  for  Moxon's 
Tennyson  :  "  It  is  a  thankless  task.  After  a  fort- 
night's work  my  block  goes  to  the  engraver,  like 
Agag  delicately,  and  is  hewn  in  pieces."  He 
bitterly  complains  of  the  "  cutting  and  maiming  "  his 
work  has  undergone  in  Dalziel's  workshop.  There 
are  various  indications  like  these  to  show  that  the 
shops  of  engravers  established  by  the  Dalziels  and 
by  Swain  did  not  always  work  in  harmony  with 
the  designer. 

In  dealing  with  this  period  between  the  late 
fifties  and  the  seventies  it  should  be  borne  in  mind 
that  it  is  possible  to  look  at  it  in  two  ways. 
Men  who  afterwards  became  great  Academicians 
drew  for  the  wood  engravers,  and  have  left  scores 
of  illustrations  of  exceptional  merit.  The  period 
may  be  regarded  as  the  golden  decade  in  which 
singular  work  was  produced  by  a  band  of  great 
artists.  The  designs  afford  unlimited  pleasure.  It 
is  a  source  of  pride  to  be  able  to  point  to  such  a 
masterly  effort,  but — from  the  point  of  view  of  the 
wood  engraver  it  is  quite  another  story. 

In  collecting  specimens  of  this  period  considerable 
stress  is  laid  on  the  design  which  overshadows  the 
masterly,  if  somewhat  misguided,  work  of  the  wood 
engraver   in   facsimile.     Poor  Fred  Walker  used  to 


WOOD  ENGRAVING — VICTORIAN  SCHOOL  97 

say  to  his  favourite  engraver,  W.  Hooper,  after  he 
had  engraved  one  of  the  artist's  drawings,  "  It  does 
not  look  cut  at  all." 

The  traditions  of  Bewick  were  cast  aside.  There 
was  infinite  cutting  and  very  little  engraving  to  be 
done  to  produce  in  facsimile  the  drawings  of  these 
great  designers  who  drew  on  the  wood  block,  but 
never  used  the  graver  themselves. 

The  two  firms  of  the  Brothers  Dalziel  and  Swain 
were  responsible  for  all  the  wood  engraving  of  this 
facsimile  period.  Dalziel's  Illustrated  Editions  are 
remarkable  for  the  fine  work  they  contain.  It  was 
here  that  a  successful  attempt  was  made  to  outbid 
the  demand  for  the  steel  engraver's  work.  Birket 
Foster's  "Pictures  of  English  Landscape,"  1863 
(Routledge),  was  a  direct  challenge  to  the  metal 
engraver.  In  the  reproduction  of  an  illustration 
from  this  volume.  The  Dipping  Place^  it  will  be 
seen  how  wonderfully  Dalziels  cut  these  blocks. 

A  careful  examination  of  these  illustrations  will 
show  that  black  lines  of  the  most  delicate 
character  cross  each  other  in  every  direction. 
Cross-hatching  is  as  frequent  as  if  it  were  a 
steel  engraving.  At  no  other  time  in  the  history 
of  wood  engraving  has  so  much  patient  labour  been 
bestowed  on  rendering  line  for  line  and  reproducing 
the  touch  of  the  artist.  Under  a  magnifying  glass 
it  is  only  too  evident  what  the  labours  of  the  wood 
engraver  must  have  been  to  cut  away  the  white 
and  leave  the  black  slender  lines  with  such  delicacy. 
Such  intricate  work  would  have  been  fitter  in  the 
hands  of  the  line  engraver  on  metal.     (Facing  p.  94). 

7 


98  CHATS   ON   OLD   PRINTS 

In  1863  was  published  Dalziel's  "Parables  of  our 
Lord,"  containing  some  of  the  finest  black  and  white 
work  of  Millais.  Among  the  best  of  the  wood 
engravings  is  The  Sower^  The  TareSy  and  The 
Prodigal  Son. 

In  1865  other  names  appear : — J.  D.  Watson, 
G.  J.  Pinwell,  A.  Boyd  Houghton,  W.  J.  Lawless, 
J.  Mahoney,  F.  Walker,  J.  W.  North,  and  W.  Small. 
Even  Burne-Jones  and  Whistler  did  not  disdain  to 
draw  on  wood  blocks  destined  for  use  in  a  magazine. 
There  is  a  characteristic  drawing  by  the  former  in 
Good  Words  for  1863,  placed  in  the  list  of  illustra- 
tions as  by  "  Christopher  Jones,"  and  in  Once  a 
Week  for  1862  there  are  four  illustrations  by 
Whistler. 

Among  some  of  the  best  known  illustrated  books 
of  this  period  may  be  mentioned  Defoe's  "  Plague  " 
(Longmans),  1863,  with  designs  by  F.  Shields, 
"  Wayside  Posies  "  (Routledge)  and  Jean  Ingelow's 
"  Poems  "  (Longmans),  both  published  in  1867,  with 
illustrations  by  North,  Pinwell,  and  Edward  Dalziel. 
Concerning  "A  Round  of  Days,"  1866  (Routledge), 
"Ballad  Stories,"  by  Robert  Buchanan  (Routledge), 
the  illustrated  Goldsmith,  and  the  "  Arabian  Nights  " 
(Ward,  Lock  &  Co.),  first  published  in  parts  from 
1863  to  1865,  mention  is  made  later  in  detail,  nor 
should  the  edition  of  the  "  Arabian  Nights  "  published 
in  1866  by  Messrs.  Warne  be  omitted. 

To  the  list  of  magazines  worthy  of  note  may  be 
added  London  Society  and  the  People's  Magazine^ 
both  of  which  had  fine  drawings. 

The   work   of   Frederick   Sandys   (i 832-1904)   is 


CLEOPATRA. 

From  a  wood  engraving  by  Dalziel  after  F.  Sandys. 

(Size  of  original  engraving  4^  in.  by  7  in.) 

"  Cornhill,"  1866. 


By  kind  permission  of  Messrs.  Smith,  Elder  &  Co. 


[To  face  fage 


WOOD  ENGRAVING — VICTORIAN  SCHOOL  99 

worth  considering  in  detail.  Rossetti  pronounced 
him  "the  greatest  of  living  draughtsmen."  He 
exhibited  at  the  Royal  Academy  before  he  was 
twenty  years  of  age,  and  from  185 1  to  1886  his 
exhibits  number  forty-seven,  mainly  portraits  in 
crayons.  He  lived  with  Rossetti  for  many  years 
at  Chelsea,  and  though  not  a  member  of  the 
Pre-Raphaelite  Brotherhood,  he  made  their  ideals 
his.  The  fascination  of  mediaeval  lore  and  the 
spell  of  mysticism  had  alike  seized  the  minds  of 
artists  and  poets.  The  great  Arthurian  legion  had 
captivated  Tennyson,  and  Sandys  in  his  designs 
recalls  the  virility  and  symbolism  of  Albert  Diirer. 

Whereas  Durer's  designs  were  spread  across 
Europe  from  Nuremburg  to  Venice,  the  woodcuts 
after  Sandys  were  limited  to  the  Cornhill  Magazine^ 
Once  a  Week^  The  Quiver^  Good  Words ^  The  Argosy ^ 
The  Churchman's  Family  Magazine^  and  The  Shilling 
Magazine. 

The  illustration  reproduced  of  Cleopatra  appeared 
in  Cornhill  in  1866  as  an  illustration  to  a  poem  by 
Swinburne  of  the  same  title ;  the  wood  block  was 
cut  by  Dalziel. 

The  poem  and  the  illustration  are  wedded.  It 
would  seem  as  if  Swinburne  had  seen  the  drawing 
of  Sandys  when  he  wrote : — 

"  Her  great  curled  hair  makes  luminous 
Her  cheeks,  her  lifted  throat  and  chin. 

Shall  she  not  have  the  heart  of  us 
To  shatter  and  the  loves  therein 

To  shed  between  her  fingers  thus? 


100  CHATS   ON  OLD  PRINTS 

Small  ruined  broken  strays  of  light, 

Pearl  after  pearl  she  shreds  them  through 

Her  long  sweet  sleepy  fingers,  white 
As  any  pearl's  heart,  veined  with  blue 

And  soft  as  dew  on  a  soft  night." 

Until  Her  Death,  which  we  reproduce,  appeared 
in  Good  Words  in  1862  to  illustrate  a  set  of  verses 
by  the  author  of  "John  Halifax,  Gentleman."  The 
verses  are  too  feeble  to  repeat,  and  evidently  written 
to  order  after  seeing  the  drawing,  which  left  the 
author,  Mrs.  Craik  (then  Miss  Dinah  Maria  Muloch), 
uninspired. 

Unfortunately  the  woodcuts  after  the  drawings  of 
Sandys  are  few,  but  in  the  list  appended  to  this 
chapter  there  is  ample  information  to  indicate  where 
his  work  may  be  found.  There  is  a  majesty  of  line 
and  a  powerful  conception  in  the  work  of  Sandys 
which  place  him  high  in  the  annals  of  British 
black  and  white  art.  Full  justice  has  not  yet 
been  done  to  his  genius.  His  drawings  are  already 
rare,  and  old  numbers  of  the  magazines  to  which 
he  contributed  are  being  eagerly  sought  after  by 
collectors  of  good  work. 

It  is  a  matter  for  congratulation  that  the  original 
drawing  of  Until  Her  Death  has  been  preserved, 
and  is  in  the  hands  of  Mr.  Joseph  Pennell. 
There  is  a  photograph  of  the  drawing  on  the 
wood  block  by  Sandys  of  Cleopatra  before  it  was 
worked  upon  by  Dalziels ;  this  is  in  the  possession 
of  Mr.  George  Murray  Smith. 

Photography. — With    regard    to    the    first    use    of 


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WOOD  ENGRAVING — VICTORIAN  SCHOOL  10 1 

photography  in  connection  with  wood  engraving,  it 
is  interesting  to  note  that  it  was  soon  reaHsed  that 
it  was  desirable  to  save  the  drawings  of  the  ntti'sts 
if  possible.  Obviously  if  they  were  drawri  on  the 
block  the  wood  engraver  cut  them  away.  As  early 
as  1857  patents  were  taken  out  for  producing  photo- 
graphs upon  wood  ready  for  the  engraver.  Soon 
after  1861  this  became  a  fairly  general  practice. 
It  had  two  advantages — it  enabled  the  engraver  to 
compare  his  work  with  the  original  drawing,  and 
it  saved  the  drawing  itself  from  destruction.  There 
is  a  third  incidental  advantage,  and  that  is  that  it 
is  possible  to  make  a  process  block  from  this 
original  drawing  and  compare  it  with  the  wood 
engraving  to  see  whether  so  much  was  really  lost 
at  the  hands  of  the  engraver  and  printer  as  the 
artists  would  have  us  believe. 

In  many  cases  when  the  designer  drew  on  the 
wood  block,  some  compunction  seems  to  have  seized 
the  wood  engraver,  and  this  drawing  was  photo- 
graphed upon  another  block  to  be  cut,  but  the 
original  block  with  the  original  drawing  has  been 
preserved.  The  Victoria  and  Albert  Museum  has 
a  rich  collection  of  wood  blocks  upon  which  are 
drawings  that  have  not  been  cut  up,  and  of  early 
proofs  from  the  wood  blocks  with  artist's  and 
engraver's  corrections  upon  them. 

It  should,  too,  be  mentioned  that  science  came  to 
the  aid  of  the  wood  engraver ;  unfortunately  it  sub- 
sequently demolished  him.  In  magazine  work  and 
in  large  editions  of  books  it  was  found  that  the 
wood  block  could  not  stand   the  printing  and   the 


102  CHATS   ON  OLD  PRINTS 

rough  usage  it  received.  With  increasing  skill  in 
typographic  art  came  the  invention  of  taking  a  metal 
cast,  or  as  many  metal  casts  as  were  found  necessary, 
;:  jof  the  wood  block  and  printing  from  them,  and  not 
^  from  the  wood  block  itself.  These  casts  are  known 
as  cliches. 

So  that  it  will  be  seen  that  whereas  photography 
was  utilised  to  preserve  the  drawing  of  the  artist, 
this  later  invention  preserved  the  work  of  the  wood 
engraver. 

One  of  the  most  remarkable  books  issued  in  this 
period  is  Dalziel's  illustrated  "  Arabian  Nights," 
published  by  Messrs.  Ward,  Lock  &  Co.  in  1865,  with 
over  two  hundred  illustrations,  of  which  ninety  are 
by  A.  Boyd  Houghton.  The  rest  are  by  Millais, 
G.  J.  Pinwell,  J.  D.  Watson,  and  T.  and  E.  Dalziel. 
But  it  is  Boyd  Houghton  who  stands  pre-eminent. 
At  that  time  he  was  only  twenty-seven  years  of  age, 
and  Pinwell  was  only  twenty-one. 

Boyd  Houghton's  name  carries  with  it  a  peculiar 
magic.  It  is  not  easy  to  forget  the  first  peep  into 
this  wonderful  edition  of  the  "  Arabian  Nights." 
There  is  in  his  flowing  lines  a  singular  beauty.  He 
conveys  with  dexterous  cunning  the  life  of  the  East. 
His  drawings  are  filled  with  poetry  and  grace.  This 
volume  is  unfortunately  printed  on  bad  paper,  and 
each  page  is  set  in  a  style  offensive  to  the  eye,  and 
has  a  crude  framework  around  the  letterpress.  But 
in  spite  of  everything,  the  wonderful  designs  of 
houris,  and  genii,  of  dervishes  and  singing-girls,  of 
slaves,  and  of  Bagdad  merchants,  illuminate  the 
stories  so  perfectly  that  one  forgets  margin  and  type 


WOOD  ENGRAVING — VICTORIAN  SCHOOL  IO3 

and  Victorian   inelegance,  and   is   carried   as   on   a 
magical  carpet  straightway  to  the  perfumed  East. 

There  is  another  volume, "  Don  Quixote,"  published 
by  Warne  &  Co.  in  1866,  with  eight  illustrations  by 
him.  There  is  the  same  touch  of  genius,  the  same 
masterly  embellishment  of  the  text,  the  same  sym- 
pathetic reading.  One  can  only  marvel  in  no  less 
abashed  manner  than  did  the  incomparable  Sancho 
Panza — there  is  only  one  Boyd  Houghton,  and  when 
he  is  at  his  best  there  is  none  who  can  equal  him. 

The  illuminations  of  the  "  Arabian  Nights  "  with 
their  wonderful  delicacy,  and  the  delightful  dreami- 
ness of  their  flowing  lines,  piles  of  gossamer,  draperies, 
intricate  lace-work,  fretted  woodwork  of  Arabic 
geometric  design,  and  subtle  suggestions  of  Oriental 
colour,  give  full  and  detailed  pictures  of  life  "  east  of 
Suez,"  filled  with  the  naturalism  of  Omar  himself 
It  is  difficult  to  realise  that  the  man  who  drew  these 
illustrations  suffered  from  physical  disabilities,  which 
almost  put  into  shade  the  infirmities  of  Robert  Louis 
Stevenson  who  wrote  gaily  while  the  blood  was 
literally  pouring  from  his  mouth. 

From  boyhood  Arthur  Boyd  Houghton  had  lost 
the  entire  sight  of  one  of  his  eyes.  A  man  gifted 
with  the  highest  artistic  powers,  deft  with  his  pencil, 
relying  upon  his  vision  to  correct  his  imagination  to 
be  deprived  of  half  his  powers,  is  grim  tragedy.  Nor 
is  this  all.  As  he  grew  older  the  sight  of  the  remain- 
ing eye,  due  no  doubt  to  the  increased  strain  put 
upon  it,  grew  weaker.  It  is  awful  to  know  that  for 
many  days  at  a  time  he  was  in  such  pain  owing  to 
inflammation   affecting  his    one   eye,   that    he   was 


104  CHATS   ON  OLD  PRINTS 

practically  blind.  Milton  in  his  blindness  was  a 
monarch  compared  to  the  tortures  of  this  poor  artist, 
striving  for  light  and  for  fame,  condemned  by 
inexorable  fate  to  temporary  blindness. 

Vierge,  the  renowned  black  and  white  artist, 
whose  illustrations  to  "  Don  Quixote "  and  "  Gil 
Bias"  won  him  European  renown,  was  stricken  by 
paralysis  down  the  right  side,  and  lost  his  speech. 
Even  this  stops  a  long  way  short  of  blindness. 
Vierge  with  a  bravery  that  only  genius  in  the 
supremest  moments  of  tragic  difficulty  can  overcome, 
now  draws  with  his  left  hand.  But  Arthur  Boyd 
Houghton,  the  sometime  blind  artist,  bereft  of  one 
eye,  surely  stands  pre-eminent  among  men  of  genius 
for  his  heroic  fight  against  Fate  and  his  triumphant 
victory.  His  niche  in  the  temple  of  fame  should  be 
doubly  honoured,  since  he  wrested  success  from 
despairing  misfortune. 

It  cannot  fail  to  be  an  added  tribute  new  admirers 
will  pay  to  his  genius  who  now  learn  for  the  first 
time  of  his  affliction.  He  is  not  to  be  judged  as  a 
freak.  It  were  pitiable  to  judge  him  as  a  one-eyed 
man  who  as  a  tour-de-force  drew  beautiful  pictures. 
His  work  will  bear  comparison  with  any  black  and 
white  artist  in  England  either  before  or  since  his  day. 
There  is  little  doubt  that  he  worked  with  a  rapidity 
born  of  the  circumstances.  He  worked  while  there 
was  yet  light.  He  stayed  not  to  perfect  or  retouch 
his  work  with  second  thoughts.  There  was  no  second 
thought  needed.  Red-hot  from  his  brain  the  designs 
burned  themselves  on  to  the  wood  block.  He  had 
a  swift  hand  and  an  unerring  touch,  and  the  dream- 


THE  DERVISE   PLUCKS  THE   HAIRS   FROM   THE   CAT  S   TAIL. 


From  a  wood  engraving  by  Dalziel,  after  a  design  by  A.  Boyd  Houghton. 

(Size  of  original  5j  in.  by  7  in.) 

"  Arabian  Nights,"   1865. 

(An  enlargcutcnl  of  a  portion  of  this  appears  opposite  p.  40.) 

By  kind  permission  of  Messrs.  Ward,  Lock,  &  Co. 

[To  face  page  104. 


WOOD   ENGRAVING — VICTORIAN  SCHOOL  IO5 

world  of  beautiful  forms  he  has  left  will  last  as 
long  as  paper  and  ink  and  binding  hold  their  com- 
ponent parts  together.  To  those  who  love  to  search 
through  the  byeways  of  Victorian  illustrated  maga- 
zines, there  are  to  be  found  many  beautiful  wood- 
engravings  either  signed  in  full  or  with  the  magic 
initials  A.B.H.,  which  will  amply  reward  them  for 
the  tribute  their  industry  pays  to  the  memory  of  this 
artist. 

In  the  illustration  here  reproduced  from  the 
"  Arabian  Nights,"  entitled  The  Dervise  plucks  the 
hairs  out  of  the  cat's  tail,  there  is  something  essen- 
tially new  in  English  illustration.  The  strength 
of  the  line  and  the  force  of  the  imaginative  design  at 
once  stamp  Boyd  Houghton  as  worthy  of  studious 
appreciation.  The  enlargement  of  a  portion  of  this 
(opposite  p.  40)  shows  the  wonderful  skill  of  Dalziel 
the  engraver.  In  another  illustration  from  the  Sunday 
Magazine  of  1 87 1,  entitled  The  Withered  Flower^ 
we  do  not  ask  what  story  is  told  in  thin,  early- 
Victorian  verse.  The  design  at  once  arrests  us.  The 
free  use  of  white  line,  particularly  in  the  canopy  for 
the  elephant  and  the  filmy  veil  of  the  lady  "  sad-eyed 
and  consumed  with  grief,"  cannot  all  have  been  the 
craftsman's  touch  of  Dalziel.  We  prefer  to  believe 
that  the  design  on  the  block  indicated  this  treatment, 
and  that  Boyd  Houghton  more  than  many  of  his 
fellow-artists  had  realised  to  the  full  the  technique  of 
the  wood-engraver.     (Facing  p.  io6). 

In  "Ballad  Stories  of  the  Affections,  from  the 
Scandinavian"  (Routledge),  by  Robert  Buchanan, 
Boyd  Houghton  is  marvellous.     Pinwell,  W.  Small 


I06  CHATS   ON  OLD  PRINTS 

and  C.  G.  Lawson  all  contribute  fine  work.  In  the 
list  at  the  end  of  the  chapter  some  of  the  finest 
designs  are  tabulated. 

Pen-drawing  and  Wash-drawing. — Of  the  various 
styles  of  drawing  on  wood  in  the  sixties,  there  are 
three  broad  divisions.  The  virile  line,  eliminating 
all  local  colour,  of  which  the  chief  exponent  was 
Sandys.  The  free  and  realistic  line  which  endeavours 
to  suggest  local  tone  and  colour  as  well  as  light  and 
shade,  of  which  John  Gilbert,  Millais,  and  especially 
Fred  Walker,  in  its  later  developments  were  the  chief 
leading  stylists.  The  wash-drawing  with  a  partial 
absence  of  line,  leaving  the  interpretation  into  line  to 
the  wood  engraver.  Of  this  third  style  William  Small 
was  the  first  exponent.  In  modern  wood  engraving 
this  has  been  developed  both  in  the  American  and 
English  schools  to  such  a  degree  that  wood  engraving 
in  its  latter  days  and  wood  engraving  in  the  days  of 
Holbein  and  the  old  wood-cutters  are  governed  by 
entirely  different  theories. 

In  the  wood  engraving  by  Dalziel,  after  Fred 
Walker,  in  "  A  Round  of  Days,"  one  of  Dalziel's 
Gift  Books,  printed  with  the  illustrations  on  india- 
paper  in  1866,  his  style  is  well  interpreted  by  the 
wood  engraver.  This  volume  contains  splendid  work 
by  G.  J.  Pinwell,  J.  W.  North,  J.  D.  Watson,  and 
Boyd  Houghton. 

George  J.  Pinwell  holds  a  high  place  in  the 
plethora  of  designers  of  this  peculiarly  rich  period. 
His  costumes  and  his  interiors,  his  dainty  sentiment 
and  his  homely  situations  endear  him  to  lovers  of 
English  genre  drawing.     From  1865  to  1875  he  had 


THE  WITHERED   FLOWER. 

Fiom  a  wood  engraving  by  Dalziel,  after  A.  Boyd  Houghton. 
{Size  of  original  engraving  5  in.  by  6  in.) 

By  kind  permission  of  the  proprietors  of  the  "Sunday  Magazine." 

\To  face  page  106. 


IVOOD  ENGRAVING — VICTORIAN  SCHOOL  IO7 

over  sixty  water-colour  drawings  exhibited  at  the 
Dudley  Gallery  and  at  the  Royal  Society  of  Painters 
in  Water  Colours. 

The  illustration  (facing  p.  108),  is  reproduced  from 
Dalziel's  illustrated  "Goldsmith,"  published  by  Messrs. 
Ward  and  Lock  in  1865,  when  Pinwell  was  only 
twenty-three  years  of  age.  There  are  a  hundred 
pictures  drawn  by  G.  J.  Pinwell  in  this  volume,  and 
very  beautiful  they  are.  The  portrait  of  Madam 
Blaize  is  so  good  that  Randolph  Caldecott  paid 
Pinwell  the  sincerest  flattery  by  conveying  it  to 
one  of  his  Nursery  Books  almost  bodily. 

Some  of  the  uncut  blocks  for  this  volume  of  the 
"  Works  of  Goldsmith  "  are  in  the  possession  of  the 
Victoria  and  Albert  Museum. 

During  the  sixties  the  collector  may  find  wood 
engravings  after  Millais  by  the  hundred,  Du  Maurier, 
Charles  Keene,  and  Tenniel  may  be  found  in  even 
greater  profusion.  There  is  one  early  drawing  by 
Millais  illustrating  Byron's  poem  of  "  The  Dream  " 
in  Willmott's  "  Poets  of  the  Nineteenth  Century," 
published  in  1857.  Millais  was  then  twenty-eight, 
A  youth  and  a  maiden  are  clasping  hands.  At  an 
open  door  stands  a  saddled  horse.  There  is  a 
simplicity  and  a  directness  of  sentiment  in  the  draw- 
ing, and  a  suggestion  of  pathos  conveyed  by  the 
masterly  lines  which  it  is  difficult  to  believe  ever 
proceed  from  the  epoch  in  which  the  lustre  ornament 
and  the  wax  fruit  under  glass  shade,  the  Windsor 
chair  and  the  antimacassar  were  the  prevailing 
features. 

Of  Leighton's  illustrations  to  Romola  there  is  a 


I08  CHATS   ON  OLD  PRINTS 

true  mediaeval  atmosphere  pervading  them  all.  The 
fierce,  revengeful  hate  burning  in  the  sunken  sockets 
of  Baldassare  as  he  grips  Tito's  throat  by  the  river- 
side strikes  a  note  of  terror  and  of  awe.  There  is 
something  too  real  about  the  scene  to  be  pleasing. 
It  is  not  a  nightmare,  it  is  an  actual  episode.  There 
is  about  this  volume  of  illustrations  a  sense  of  tragedy 
difficult  to  dispel,  unrelieved  by  the  light  touches  of 
little  Tessa  drawn  with  consummate  skill. 

These  illustrations  were  published  in  two  sump- 
tuous volumes  in  1880  printed  on  india-paper,  but 
they  are  not  so  strong  as  in  the  original  issue,  where 
the  ink,  after  forty-six  years,  has  grown  mellow  in 
tone. 

We  reproduce  from  the  pages  of  Cornhill,  i860, 
a  wood  engraving  by  Dalziel  after  a  design  of  The 
Great  God  Pan  by  Lord  Leighton,  illustrating  Mrs. 
Browning's  poem  : — 

What  was  he  doing  the  great  god  Pan, 

Down  in  the  reeds  by  the  river? 
Spreading  ruin  and  scattering  ban, 
Splashing  and  paddling  with  hoofs  of  a  goat, 
And  breaking  the  golden  lilies  afloat 

With  the  dragon-fly  on  the  river? 

***** 
"  This  is  the  way,"  laughed  the  great  god  Pan, 

(Laughed  while  he  sat  by  the  river  !) 
"  The  only  way,  since  gods  began 
To  make  sweet  music,  they  could  succeed." 
Then,  dropping  his  mouth  to  a  hole  in  the  reed. 

He  blew  in  power  by  the  river. 


MADAM     BLAIZE. 

From  a  wood  engraving,  by  Dalziel,  after  G.  J.  Pinwell. 

(Size  of  original  sh  '"•  ^JV  ^1  in.) 

Goldsmith's  Works,  1865. 

By  kind  permission  of  Messrs.  Ward,  Lock  &  Co. 


[To  face  page 


WOOD  ENGRAVING — VICTORIAN  SCHOOL  IO9 

Sweet,  sweet,  sweet,  O  Pan, 

Piercing  sweet  by  the  river ! 
Blinding  sweet,  O  great  god  Pan  ! 
The  sun  on  the  hill  forgot  to  die. 
And  the  lilies  revived,  and  the  dragon-fly 

Came  back  to  dream  on  the  river. 

It  is  the  consummation  of  art  to  have  the  design 
of  him  whose  canvases  record  the  sunlit  splendours 
of  the  Golden  Age,  wedded  with  the  song  of  the 
poetess  of  whom  the  grateful  Florentines  recorded 
on  slab  of  marble  on  the  wall  of  Casa  Guidi,  she 
"linked  her  England  with  our  Italy." 

There  is  little  doubt  that  to  the  collector  with 
small  means  the  school  of  wood  engraving  after  these 
great  designers  we  have  indicated  from  1858  to 
1870  offers  remarkable  facilities  for  acquiring  for  a 
small  outlay  some  remarkable  examples  of  this  art. 
Unfortunately  bad  printing  and  bad  paper  have 
lessened  the  artistic  excellence  to  a  very  considerable 
degree.  It  is  almost  wonderful  that  the  printers  did 
not  batter  the  wood  blocks  out  of  all  recognition. 
The  original  design  as  drawn  on  the  wood  block  was 
one  thing,  and  the  finished  result  when  printed  was 
another,  especially  in  the  pages  of  a  magazine.  But 
we  must  be  thankful  for  what  is  now  remaining  as  an 
inadequate  record  of  a  great  period  of  English  design 
when  the  achievements  of  one  or  two  of  the  greatest 
among  the  men  who  drew  on  the  wood  block  entitle 
them  to  be  regarded  as  in  the  first  rank. 

There  is  something  particularly  charming  in  collect- 
ing  these   old   wood  engravings.     They   are   to   be 


no  CHATS   ON  OLD   PRINTS 

found  in  the  most  out-of-the-way  places,  and  in  the 
most  unlikely  magazines.  The  titles  of  some  of  these 
old  magazines  have  a  forbidding  ring  about  them,  and 
are  suggestive  of  early- Victorian  days  when  Sunday 
reading  was  limited  to  one  or  two  volumes,  and  these 
aforesaid  magazines  were  evidently  acceptable  to  a 
generation  less  broad  than  our  own  as  an  innovation 
after  Bunyan's  "  Pilgrim's  Progress." 

The  early  numbers  of  the  magazines  we  have 
enumerated  teem  with  fine  designs,  and  to  the  names 
already  given  we  must  add  Mrs.  Allingham  (Miss  H. 
Paterson),  Mrs.  Staples  (Miss  M.  E.  Edwards),  Paul 
Gray,  and  C.  Green. 

As  to  prices,  it  is  rather  a  question  of  pence  than 
shillings.  Many  of  these  old  magazines  can  be 
purchased  for  a  shilling  a  volume.  Some  of  the 
illustrated  volumes,  other  than  periodicals,  are  begin- 
ning to  increase  in  price,  because  collectors  are 
inquiring  for  them,  and  they  have  an  appreciative 
public  in  Germany.  But  it  is  not  yet  too  late  for  the 
lover  of  these  bygone  treasures  to  gather  from  the 
field  a  score  or  two  of  really  fine  wood  engravings 
representative  of  this  period. 

In  the  list  which  follows  a  fairly  wide  selection 
is  given  to  enable  the  beginner  to  glean  much  that 
is  valuable  from  a  very  prolific  time,  crowded  with 
work  of  strikingly  original  character  and  instinct 
with  vigour  which  has  inspired  all  that  is  best  in 
the  modern  school  of  wood  engraving. 

What  to  Collect. — The  following  is  not  intended  to 
be  a  complete  list,  but  purports  to  indicate  various 
sources  where  engravings  may  be  found  representa- 


THE    GREAT    GOD    PAN. 

From  a  Wood  Engraving  by  Dalziel,  after  Lord  Leighton 

(Size  of  original  4  in.  by  6|  in.) 

"Cornliill,"  1862. 


By  kind  fermission  of  Messrs.  Smith,  Elder  &  Co. 


[To  face  page  no. 


IVOOD  ENGRAVING — VICTORIAN  SCHOOL 


III 


tive  of  the  first  period  when  the  facsimile  engravers 
reproduced  with  exactitude  the  pencil  or  pen-and-ink 
drawing  of  the  artist  on  the  wood  block,  and  of  the 
later  period  when  the  translators  converted  with  sure 
knowledge  the  wash-drawing  of  the  artist  on  the 
wood  block  into  black  and  white  line: — 


Frederick  Sandys 
(1832-1904). 


Sir  John  Gilbert 
(1817-1897). 


Alfred  Rethel 

(1816-1859). 
Sir  J.  E.  Millais 
(1829-1896). 


Rosamund,  Queen  of  the  Lombards.    Once  a 

Week,  1861. 
The  Old  Chartist.    Once  a  Week,  1862  (Swain, 

engraver). 
Harold  Harfagr.    Once  a  Week,  1862  (Swain, 

engraver). 
Manoli,    Cornhill,  1862  (Dalziel,  engraver). 
Miranda.    Cornhill,  1862  (Dalziel,  engraver). 
Until  Her  Death.     Good  Words,  1862  (Dalziel, 

engraver). 
Amor  Mundi.     Shilling  Magazine,  1865. 
Cleopatra.    Cornhill,  1866  (Dalziel,  engraver). 
Proud    Maisie.    CasscU's   Family   Magazine, 

1881.    English  Illustrated,  1891. 
Danas  in  the  Brazen  Chamber.     The  Hobby 

Horse,  1888. 
Falstaff  and  His  Ragged  Recruits.    Shake- 
speare, 1858  (Routledge). 
Many  Illustrations.    Illustrated  London  News 

(from  1842). 
Burial    of    Knox.     People's   Magazine,   1867 

(J.  W.  Whymper,  engraver). 
Night  Flight  of  the  White  Witness.     Punch, 

February  14,  1863  (Swain,  engraver). 
Death  the  Friend.    Sunday  Magazine,  1871 

(Dalziel,  engraver). 
The  Enemy  Sowing  Tares.     Parables  of  Our 

Lord,  1864  (Dalziel,  engraver). 
The   Sower.     Parables  of  Our   Lord,   1864 

(Dalziel,  engraver). 
The  Prodigal  Son.    Parables  of  Our  Lord, 

1864  (Dalziel,  engraver). 
The  Pharisee  and  the  Publican.    Parables  of 
Our  Lord,  1864  (Dalziel,  engraver). 


112 


CHATS   ON   OLD  PRINTS 


Sir  J.  E.  Millais 
(1 829-1 896). 


Frederick  Walker 
(1840-1875). 


Ford  Madox 
Brown  (1821-1893). 


Dante  Gabriel 

R0SSETTl(l828-l882). 

Sir  John  Tenniel. 


Frederick,    Lord 
Leighton 
(1830-1896). 


The  Dream.  WillmotVs  Poets  of  the  Nine- 
teenth Century  (Dalziel,  engraver). 

Love.  Willniott's  Poets  of  the  Nineteenth 
Century  (Dalziel,  engraver). 

Was  it  Not  a  Lie  ?  •'  Framley  Parsonage," 
Cornhill,  1861  (Dalziel,  engraver). 

She  Threw  Herself  at  His  Feet.  Orley 
Farm  (Trollope). 

Illustrations  to  "  Philip  on  His  Way  Through 
the  World  "  (Thackeray).    Cornhill,  1861. 

Love  in  Death.  Good  Words,  1862  (Dalziel, 
engraver). 

Illustration  to  Miss  Thackeray's  "  Elizabeth." 
Cornhill,  1862. 

Prisoner  of  Chillon.  WiUmotVs  Poets  of  the 
Nineteenth  Century  (Dalziel,  engraver). 

The  Lady  of  Shalott.  Tennyson  (Moxon), 
1857. 

Several  Illustrations.  WiUmotVs  Sacred  Poetry, 
1857. 

The  Vagrants.  Once  a  Week,  1866  (Swain, 
engraver). 

Elijah  and  the  Widow's  Son.  Bible  Gallery, 
1881. 

Seven  Illustrations.  Tennyson  (Moxon),  1857 
(W.  J.  Linton  and  Dalziel,  engravers). 

Prince  Assad  and  the  Fire-worshippers. 
DalzieVs  Arabian  Nights,  1865. 

Many  Drawings.    Punch  (Swain,  engraver). 

The  Great  God  Pan.    Cornhill,  1861. 

Tessa  at  Home.  "  Romola."  Cornhill,  1863-64 
(Dalziel,  engraver). 

The  Visible  Madonna.     "  Romola."    Cornhill. 

"  But  You  Will  Help  Me  ? "  "  Romola."  Corn- 
hill (W.  J.  Linton,  engraver). 

"  Will  His  Eyes  Open  ? "  "  Romola."  Corn- 
hill. 

Cain  and  Abel.     DalzieVs  Bible  Gallery,  1881. 

Rahab  and  the  Spies.  DalzieVs  Bible  Gallery, 
1881. 

Moses  Views  the  Promised  Land.  DalzieVs 
Bible  Gallery,  1881. 


WOOD  ENGRAVING — VICTORIAN  SCHOOL 


113 


Arthur  Boyd 
Houghton 
(1836-1875). 


The  Princess  Parizade.     Dahiel's   Arabian 

Nights,  1865. 
Gulnare  Summoning  Her  Relatives.    DalzieVs 

Arabian  Nights,  1865. 
The  Princess  of  Bengal.     DalzieVs  Arabian 

Nights,  1865. 
The    Beautiful    Slave.      DalzieVs    Arabian 

Nights,  1865. 
The  Fisherman  Drawing  His  Net.     DalzieVs 

Arabian  Nights,  1865. 
Zobeide  Prepares  to  Whip  the  Dogs.  DalzieVs 

Arabian  Nights,  1865. 
The  Legend  of  the  Lockharts.    Once  a  Week, 

1865. 
The  Pope  and  the  Cardinals.    Good  Words, 

1868. 
The  Good    Samaritan.     Sunday   Magazine, 

1868. 
The  Sower.    Sunday  Magazine,  1868. 
Joseph's  Coat.    Sunday  Magazine,  1868. 
The  Saint's  Story.    North  Coast  and  Othet 

Poems. 
Ballad  of  the  Stork.    North  Coast  and  Other 

Poems. 
How  Sir  Tonne  Won  His  Bride.     Ballad 
Stories  (Robert  Buchanan),  1869  (Dalziel, 
engraver). 
Signelil   the    Serving-maid.    Ballad   Stories 
(Robert    Buchanan),    1869    (Dalziel,    en 
graver). 
The    Shakers — Religious    Dance.      Graphic, 
May  14,  1870  (Swain,  engraver). 
Sir  Edward 
BURNE-JoNES,  Bart.   Summer  Snow.    Good  Words,  1863. 
J.  McNeill 

Whistler         Six  Drawings.    Once  a  Week,  1862. 
(1834-1903).         Illustrations  to  Cloister  and  the  Hearth  (Reade). 
Charles  Keene.        Illustrations  to  Evan  Harrington  (Meredith). 

Many  Drawings  for  Punch  (Swain,  engraver). 
J.  Pettie.  Old  Man  and  Child.    Good  Words,  1863. 

J.  McWhirter.  Autumn.     Good  Words,  1862. 

J.  D.  Watson.  Sheherazade  Relates  Her  Story  to  the  Sultan. 

DalzieVs  Arabian  Nights,  1865, 
8 


114 


CHATS   ON  OLD  PRINTS 


Edward  Dalziel 
(1817-1905). 

Thomas  Dalziel 
(1823-1906). 


Luke  Fildes. 

G.  J.  PiNWELL 

(1842-1875). 


W.  Small. 


TowNELEY  Green. 


Hubert  Herkomer. 


J.  Mahoney. 
(died  1882). 


Arthur  Hughes. 


The  King  Rewards  the  Astrologers.    Dalziel' s 

Arabian  Nights,  1865. 
The  Sultan  Addressing  His  Sons.    DalzieVs 

Arabian  Nights,  1865. 
Fetnab  and  the   Caliph.    Dalziel' s  Arabian 

Nights,  1865. 
Cassandra.      Once    a    Week,    1867    (Swain, 

engraver). 
One  Hundred  Drawings.     Goldsmith  (Ward, 

Lock),  1865  (Dalziel,  engraver). 
The  Old  Couple  and  the  Clock.     Round  of 

Days  (Routledge),  1866  (Dalziel,  engraver). 
Madame  de  Kriidener.     Sunday  Magazine, 

1865. 
Grace's  Fortune.     Good  Words,  1867  (Dalziel, 

engraver). 
After  the  Play.     Good  Words,  1869  (Dalziel, 

engraver. 
The  Collier.    Sunday  Magazine,  1871  (Dalziel, 

engraver). 
Going  to  Market,  Connemara  (water-colour 

drawing).      Graphic,    1873   (Williamsoni 

engraver). 
A   Night   Scene  on   the  Thames.      Sunday 

Magazine,  1870  (Dalziel,  engraver). 
The  B'lute.    Sunday  Magazine,  1870  (Dalziel, 

engraver). 
The  Silent  Pool.    Good  Words,  1869  (Dalziel, 

engraver). 
Illustrations    to  "Story  of    the    Plebiscite." 

Cornhill,  1872  (Swain,  engraver). 
How  Amyas  Threw  His  Sword  in  the  Sea. 

"  Westward  Ho  !  "      People's  Magazine, 

1867. 
Hohenlinden.    People's  Magazine,  1867. 
The  Sea  King's  Burial.    People's  Magazine, 

1867. 
Lady  Jane  Grey  Refuses  the  Crown.    People's 

Magazine,  1867. 
Whiteladies.      Good    Words,    1875    (Swain, 

engraver). 
White  Horse  Hill.     Tom  Brown's  Schooldays, 

1872  (Cooper,  engraver). 


I 


WOOD  ENGRAVING — VICTORIAN  SCHOOL  II5 

Arthur  Hughes.      William's  Defeat   at   Back-swording.      Tom 
Brown's  Schooldays. 

F.  W.  Lawson.  The  Carol  (crayon  drawing).    Once  a  Week, 

1868  (Swain,  engraver). 

G.  Du  Maurier         "  Harry  Richmond,  My  Son,  now  of  Age." 
1834-1896).  Meredith's   "Harry  Richmond."     Corn- 
hill,  1 87 1. 

Many  Pen  Drawings.    Punch,  1872-86. 
J.  Lawson.  Axel  and  Walborg.    Ballad  Stories  (Robert 

Buchanan),  1869  (Dalziel,  engraver). 


MODERN 

WOOD 

ENGRAVING 


CHAPTER  V 

MODERN  WOOD  ENGRAVING 

The  exigencies  of  illustrated  journalism — The  advance  of 
photography — Haste  and  cheapness  help  to  kill 
good  work — Collaborative  engraving — The  rise  of 
the  great  American  school — William  Morris  and  the 
Kelmscott  Press — Foreign  wood  engravers — The 
aspects  of  wood  engraving  to-day. 

The  same  qualities  that  in  the  masterly  hand  of  Sir 
John  Gilbert,  the  doyen  of  designers  for  the  wood 
block,  helped  to  place  the  art  of  wood  engraving  on 
its  feet  helped  to  destroy  it.  The  Illustrated  London 
News  revolutionised  modern  journalism.  It  was 
founded  in  1842  by  Mr.  Herbert  Ingram,  and  out- 
lived a  series  of  rivals  until  1869,  when  the  Graphic 
was  founded  by  Mr.  W.  L.  Thomas.  Our  fathers 
lived  in  stormy  times.  When  the  Revolution  in 
Paris  broke  out  in  1848,  Gilbert  achieved  journalistic 
renown  by  drawing  for  the  wood  engravers  in  two  or 
three  days,  from  newspaper  descriptions,  ten  pages  of 
designs  to  appear  in  a  special  double  number.  Nous 
avons  change  tous  cela  and  such  feats  of  imaginative 

119 


I20  CHATS  ON  OLD  PEJNT5 

pktorialism  are  only  foisted  apon  the  paUk  hy  the 
halfpenny  ilhistrated  pressL  Sir  John  Gilbert  was 
tifte  man  for  the  hour.  Messei^efs  were  de^iatched 
to  his  house  at  Blarkhpafh  with  a  wood  block  and  a 
imbal  descrqitioo  of  the  sabject  required.  The  boy 
was  told  to  take  a  walk  on  the  heath  for  an  hour  or 
two^  and  on  his  retnm  the  \AodL  was  ready.  The 
Crimean  War  in  1854,  the  Indian  Mutiny  in  1857, 
and  tiie  Franco-Prussian  War  oi  1870  demanded 
pictorial  treatment. 

Time  was  as  importzmt  a  fiictor  in  these  days  as 
cost,  widi  the  advance  of  cheaper  photographic 
methods,  came  to  be  at  a  later  date.  The  wood 
q^iaver  mbo  worked  against  time  most  be  pardoned 
as  the  victim  of  a  ss^stem.  He  often  sat  up  all  n^^fat 
to  pfodnce  a  block  just  in  time  to  satisfy  public 
curiosity.  In  examinii^  some  of  this  cM  work  the 
collector  win  observe  stra^it  white  lines  cutting  op 
the  picture  into  sections.  This  is  due  to  an  inven- 
tioo,  late  in  the  sixties^  by  Mr.  Wdls^  iHiich  enabled 
the  wood  blodc  to  be  cut  into  squares  and  joined 
together,  each  square  beti^  ei^raved  fay  a  difierent 
man.  As  many  as  ten  engravers  sometimes  worked 
on  one  block.  As  may  be  readily  imagined,  this  did 
nol  hdp  to  advance  wood  ei^rraving  as  an  arL  It 
was  ingenkmsly  commerdaL 

This  cnlbborativc  en^ravii^  where  a  man  was 
given  a  piece  <tf  a  big  sur&ce  to  ei^^ve  to  fit  00  to 
the  work  of  several  others,  was  die  first  sti^  to 
destroy  all  artistic  value  in  wood  ei^;Tavii^  and  the 
shops  of  ei^raving — Dalzids,  Swain,  Charles  Roberts, 
and  others— <iid  oioce  to  destroy  iufividniiity,  and 


MODERN    WOOD  ENGRAVING  121 

consequently  artistic  value,  than  anything  else  in 
modern  wood  engraving.  To-day  the  American  pro- 
cess engraver  has  struck  a  new  note  in  photographic 
reproduction  by  reverting  to  individual  personal  work, 
and  in  the  current  magazines  much  of  this  work  bears 
the  name  of  the  man  who  has  worked  on  the  half- 
tone block. 

The  great  American  school  of  wood  engravers  has 
produced  some  of  its  best  work  in  the  Century  and 
in  Harper's  Magazine,  These  magazines  are  better 
printed  than  anything  appearing  in  England,  and 
consequently  greater  justice  is  done  to  the  work  of 
designers  and  engravers. 

The  masters  of  the  American  wood  engravers  were 
our  own  weekly  illustrated  papers.  In  the  eighties 
they  drew  inspiration  from  the  best  work  of  the 
English  wood  engravers,  and  the  walls  of  the  engrav- 
ing rooms  of  the  American  illustrated  magazines 
were  covered  with  wood  engravings  from  the  old 
country.  The  experiments  of  Mr.  W.  L.  Thomas,  of 
the  Graphic^  to  reproduce  by  wood  engraving  the 
tones  of  wash-drawing,  or  of  the  chalk  sketches,  were 
carefully  treasured  across  the  Atlantic.  The  influ- 
ence of  W.  J.  Linton,  the  engraver  whose  masterly 
use  of  white  line  is  exemplified  in  a  fine  engraving  of 
a  Study  of  a  Head,  after  Titian,  reproduced  by  Mr. 
Philip  Gilbert  Hamerton  in  his  Graphic  Arts,  1882, 
and  the  later  developments  of  the  school  of  W.  Small, 
the  black  and  white  artist,  gave  greater  scope  to  the 
engraver,  and  made  his  labours  of  artistic  value  in 
interpreting  the  feeling  of  work  in  colour. 

For  about  ten  years  wood  engraving  made  a  great 


122  CHATS   ON  OLD  PRINTS 

and  a  final  effort  for  recognition  as  a  means  of  illus- 
tration to  art  magazines,  and  not  least  among  the 
upholders  of  a  moribund  art  were  the  proprietors  of 
the  Graphic^  who  continued  to  reproduce  in  their 
pages  a  fine  series  of  wood  engravings  by  men  who 
did  good  work  in  face  of  strenuous  competition  by 
photographic  methods.  By  this  time  wood  engrav- 
ing had  thrown  up  the  sponge  in  its  efforts  to  contend 
with  photography  in  illustrating  current  events.  It 
attempted  to  free  itself  from  the  shackles  of  com- 
mercialism, and  to  rank  again  as  one  of  the  fine  arts. 
A  great  school  arose  of  men  who  worked  as  interpre- 
tative engravers  of  pictures  by  the  old  masters.  Of 
these  the  boldest  exponent  was  Stephane  Panne- 
maker,  the  Belgian  wood-engraver,  who  had  a  studio 
in  Paris,  and  reproduced  inflowing  line  some  of  the  best 
known  works  of  old  and  of  modern  masters,  includ- 
ing Gustave  Dora's  illustrations  to  Dante.  As  early 
as  1876  he  exhibited  a  woodcut,  La  Baigneuse,  at  the 
Salon,  "  which  astonished  the  art  world  by  the  amaz- 
ing perfection  of  its  method,  all  the  delicate  modelling 
of  the  nude  figure  being  rendered  by  simple  modula- 
tions of  unbroken  line." 

The  best  living  exponent  of  this  school  is  Mr. 
Timothy  Cole,  of  which  we  shall  speak  later.  Bold, 
strong,  flowing  line  cut  with  freedom,  and  depending 
on  the  quality  of  the  line  to  express  local  colour,  is 
the  chief  quality  of  this  school,  of  which  in  England 
Charles  Roberts  (who  had  a  studio  or  shop  with  a 
dozen  assistants  in  Chancery  Lane),  Babbage  and 
Frohment,  and  H.  Uhlrich,  who  worked  for  the 
Graphic^  were  the  best  known  engravers. 


PORTRAIT  OF  A  LADY. 

From  a  Wood  Engraving  by  H.  Uhlrich,  after  Henri  Levy. 

(Size  of  original  engraving,  12  in.  by  17J  in.) 
An  enlargement  of  a  fottion  of  this  appears  opposite  p.  40. 

By  permission  of  the  Proprietors  of  the  "  Graphic." 


[To  face  page  122. 


MODERN    WOOD  ENGRAVING  1 23 

Much  of  the  work  of  these  men  which  appeared  in 
the  eighties  is  masterly,  and  worthy  of  being  repre- 
sented in  any  collection  dealing  with  latter-day  wood 
engraving.  There  is  the  fine  portrait  of  Cardinal 
Manning  by  C.  Roberts,  and  that  of  Ruskin  by  F. 
Babbage,  both  treated  in  the  larger  and  broader 
manner,  which  appeared  in  the  Graphic.  E.  P. 
Donner,  A.  Comfort,  M.  Klinkicht,  and  W.  T.  Smith 
are  worthy  of  mention  among  the  later  men,  and,  of 
course,  Mr.  W.  Biscombe  Gardner.  We  reproduce 
an  illustration  after  a  picture  by  Henri  L^vy  engraved 
by  H.  Uhlrich,  of  a  Portrait  of  a  Lady^  which 
appeared  in  the  Graphic  of  April  8,  1882,  from  the 
series,  "Types  of  Beauty."     (Facing  p.  122). 

The  collector  will  have  noticed  the  absence  of  the 
white  line  cutting  the  block  into  sections  in  this  later 
work.  It  is  not  that  the  wood  block  consists  of  one 
piece  of  wood,  for  the  box-wood  obtained  from 
Turkey  was  still  of  small  dimensions,  not  being 
greater  than  some  three  inches  by  four;  so  that  it 
will  be  seen  that  the  large  full-page  illustrations  of 
the  Graphic  were  made  up  of  many  of  these  blocks 
joined  together.  But  only  one  engraver  worked  upon 
them,  and  a  metal  cast  was  taken  of  the  block  and 
printed  from,  so  that  the  white  lines  of  the  joining 
sections  never  appear  as  a  disfigurement.  These 
cliches  admitted  of  international  use.  Thus  it  comes 
about  that  some  of  the  best  known  wood-engravers' 
work  was  published  in  England  almost  simultaneously 
with  its  appearance  on  the  Continent.  So  long  as 
the  original  wood  block  is  in  existence  metal  casts 
can   be  taken   and   printed   from.      This   gave  the 


124  CHATS   ON   OLD  PRINTS 

wood  engraving  extended  life  and  a   wide  area  of 
publication. 

Stephane  Pannemaker  (Pannemaker  fils)  has  had 
this  distinction  in  two  continents,  and  Jonnard,  the 
Belgian  engraver,  has  been  produced  in  this  country 
as  well  as  in  France  and  in  his  own.  A  splendid 
example  of  his  work  is  a  portrait  of  Lady  Hamilton^ 
which  appeared  in  the  Magazine  of  Art  October, 
1889.  And  in  the  pages  of  the  Graphic  appeared  the 
remarkable  series  of  pictures  after  the  pictures  of 
Rembrandt  by  H.  Baude,  which  are  at  once  masterly 
specimens  of  modern  wood  engraving,  and  wonderfully 
brilliant  in  their  interpretation  of  the  feeling  of  the 
originals. 

In  size  some  of  these  measure  13  J  inches  by  17  J 
inches,  and  the  translator  has  superbly  rendered  the 
qualities  of  the  master  he  copied.  One  especially 
fine  piece  of  work  by  Baude  appeared  as  a  full-page 
illustration  in  the  Graphic  on  August  14,  1886,  and  is 
from  a  portrait  by  Rembrandt  in  the  Gallery  of  the 
Hermitage  at  St.  Petersburg. 

Of  Jonnard  there  have  been  many  examples 
illustrated  in  this  country,  and  we  are  enabled  to 
reproduce  a  fine  specimen  of  his  work  which  ap- 
peared in  Messrs.  Cassell's  Magazine  of  Art  in  1889, 
La  TricoteusCy  after  Millet.  The  original  size  of  this 
engraving  is  6J  inches  by  8f  inches,  and  it  naturally 
suffers  somewhat  by  reduction.  The  original  wood 
engraving  is  rich  in  quality,  and  suggests  the  colour 
of  the  foliage  in  a  peculiarly  delightful  manner.  The 
figure  of  the  peasant  girl  knitting  is  masterly  in  its 
rendering  of  the  work  of  Millet,  which  arrests  one  by 
its  pathos  and  realism. 


THE    KNITTER. 


From  a  Wood  Engraving  by  Jonnard,  after  Millet. 
{Size  of  original  engraving  6|  in.  by  8§  in.) 

By  permission  of  Messrs.  Cassell  &  Co. 


[To  face  pase  124. 


c     •     (I    «    ^a    4 


MODERN    WOOD  ENGRAVING  125 

During  this  transition  period  when  process  work 
was  steadily  gaining  ground,  Punch  adhered  to  the 
old  methods  of  wood  engraving  ;  but  even  that  time- 
honoured  publication  had  finally  to  confine  the  atten- 
tion of  the  wood  engravers  of  Messrs.  Swain  to  the 
cartoon. 

Black  and  White,  the  first  number  of  which  ap- 
peared in  1890,  strove  to  reproduce  fine  wood 
engraving,  and  its  proprietors  realised  the  importance 
of  good  printing,  and  procured  machinery  from  abroad 
of  the  highest  perfection  to  print  their  illustrations. 
Among  a  crowd  of  fine  engravings  there  is  one  of 
especial  note — the  Portrait  of  Tennyson,  by  G.  F. 
Watts,  engraved  by  Mr.  W.  Biscombe  Gardner.  His 
work  in  the  Graphic  since  its  commencement  is  of  a 
high  order.  He  succeeded  in  reproducing  chalk,  oil, 
and  water-colour  subjects  by  Leighton,  Watts, 
Burne-Jones,  and  Alma-Tadema,  and  in  suggesting 
the  style  of  each  artist.  Mr.  Watts  was  particularly 
pleased  with  Mr.  Gardner's  interpretation  of  his  work, 
and  he  was  engaged  to  execute  in  wood  engraving 
translations  of  the  series  of  portraits  of  famous  men 
which  hung  on  the  walls  of  Little  Holland  House. 

With  the  advent  of  the  Sketch,  under  the  direction 
of  Mr.  Clement  K.  Shorter,  who  foresaw  the  future  of 
modern  illustrated  journalism,  and  whose  Sphere  and 
Tatler  ably  testify  to  his  keen  insight  and  knowledge 
of  the  possibilities  of  process  work,  wood  engraving 
was  a  thing  of  the  past  in  journalism,  and  photo- 
graphy became  firmly  established. 

By  the  time  that  wood  engraving  was  on  its  last 
legs  in  the  field  of  illustrated  magazines  and  books. 


126  CHATS   ON   OLD  PRINTS 

most  strenuous  efforts  were  made  by  the  eclectic  to 
bring  it  back  to  life.  The  cry  of  the  wood  engraver 
was  heard  in  the  land.  Many  of  the  finest  craftsmen 
went  to  America,  and  carried  with  them  their  art, 
which  has  helped  to  establish  the  modern  American 
school.  An  International  Society  of  Wood  En- 
gravers was  founded  in  the  nineties.  Every  attempt 
was  made  to  awaken  the  interest  of  the  public  in 
wood  engraving,  but  with  no  avail.  Professor  Her- 
komer,  Mr.  Walter  Crane,  and  others  preached  to 
deaf  ears. 

The  former,  in  dealing  with  "  the  cause  of  the  rage 
for  process  work,"  speaks  of  the  "  immorality  of 
cheapness,"  and  says  "  The  Sister-Sin  to  this  and  the 
outcome  of  it  is  the  Immorality  of  Haste,  and  this  is 
the  cause  of  the  threatened  extinction  of  wood 
engraving.  Haste  is  the  black  plague  of  modern 
times,  for  it  entirely  destroys  the  repose  so  necessary 
for  the  production  of  great  art.  It  produces  a  rest- 
lessness which  finds  its  only  comfort  in  the  literature 
of  Tit-Bits.  .  .  .  We  can  welcome  quick  work  from 
an  artist,  but  it  is  a  dangerous  thing  to  impose 
rapidity  on  the  engraver;  that  should  once  and  for 
all  be  avoided." 

William  Morris  when  he  produced  his  noble 
edition  of  "  Chaucer  "  at  his  Kelmscott  Press  had  the 
co-operation  of  Sir  Edward  Burne-Jones.  Men  were 
trained  by  Morris  to  draw  and  engrave  designs 
exactly  as  he  wanted  them,  and  some  of  their  work 
would  have  satisfied  the  craftsmen  of  the  fifteenth 
century.  Under  his  inspiration  the  students  of  the 
Birmingham    Municipal  School  of  Art  produced  a 


MODERN    WOOD   ENGRAVING  127 

"  Book  of  Carols  "  with  wood  engravings  which  they 
drew  and  cut  themselves.  In  the  case  of  Sir  Edward 
Burne-Jones,  his  slight  pencil  sketches  were  trans- 
lated into  the  terms  of  wood  engraving  by  Mr. 
Catterson  Smith  and  drawn  on  the  block  before 
being  cut  by  Mr.  W.  H.  Hooper.  Other  of  the 
designs  of  Burne-Jones  appearing  in  the  Kelmscott 
Press  were  from  photographs  of  his  works  re- 
drawn on  the  wood  block  by  Mr.  Fairfax  Murray 
and  others  before  being  passed  to  the  engraver. 
William  Morris  believed  in  wood-cutting,  and  with 
all  the  modern  styles  of  wood  engraving  he  would 
have  nothing  to  say.  In  all  probability  William 
Morris  himself  handled  the  graver.  The  Pre- 
Raphaelite  firm  of  Morris,  Marshall,  Faulkner  &  Co. 
certainly  executed  work  on  the  wood  block,  for 
Dante  Gabriel  Rossetti's  frontispiece  to  his  sister's 
"Goblin  Market"  is  signed  M.  M.  F.  &  Co. 

Following  the  Kelmscott  came  the  Vale  Press, 
which  was  guided  by  somewhat  similar  principles. 
Mr.  C.  Ricketts,  Mr.  Lucien  Pissaro  and  Mr.  Reginald 
Savage  designed  and  cut  their  own  illustrations. 

It  will  be  seen  that  this  revival  was  on  somewhat 
sumptuous  lines,  and  that  its  appeal  could  only  be  of 
necessity  to  the  few.  The  same  mediaeval  spirit  has 
actuated  a  band  of  revivalists  in  wood-cutting  in 
France.  M.  Paul  Colin  has  reverted  to  the  use  of  the 
penknife  instead  of  the  graver  and  is  as  jealous  of 
the  true  value  of  line  as  was  William  Morris.  M. 
Felix  Vallotton  is  another  engraver  whose  work 
stands  forth  as  something  esoteric  rather  than  popular. 

Auguste  Lepere  is  the  Frederick  Sandys  of  France, 


128  CHATS   ON   OLD  PRINTS 

with  this  exception,  that  he  cuts  his  own  blocks. 
His  first  original  wood  engraving  appeared  in  Le 
Monde  Illustre  in  1879.  His  series  of  wood  engrav- 
ings of  the  towns  of  France  which  were  produced  in 
1889  in  L Illustration  are  masterpieces.  Together 
with  a  band  of  artists,  he  started  a  journal  Llmage^ 
which  largely  consisted  of  wood  engraving.  The 
"  Paris  Pittoresque  "  series  in  this  is  remarkable.  He 
combines  the  modern  realism  of  Steinlen  with  the 
picturesque  qualities  of  Meryon.  He  is  equally 
powerful  as  an  etcher  and  as  a  lithographer  as  he 
is  on  the  wood  block.  His  work  is  held  in  high 
esteem  by  lovers  of  what  is  best  in  modern  French 
black  and  white  art. 

In  dealing  with  the  crowded  period  of  English 
draughtsmen  for  the  wood  block  in  the  sixties  the 
want  of  space  precluded  the  mention  of  contemporary 
schools  of  design  and  wood  engraving  on  the  Conti- 
nent. The  French  have  been  particularly  happy  in 
their  application  of  wood  engraving  to  illustrating 
popular  volumes.  When  Sir  John  Gilbert  was  nine- 
teen years  of  age  an  edition  of  "  Gil  Bias  "  was  pub- 
lished in  London  with  hundreds  of  wood  engravings 
after  Jean  Gigoux,  who  disputes  with  Adolf  Menzel, 
the  German,  the  honour  of  being  the  father  of  modern 
illustration.  In  this  "  Gil  Bias  "  a  great  number  of 
engravers  were  employed — H.  Lavoignat,  Godard, 
Sears,  Benworth,  Maurisset,  J.  Thompson,  Cherrier, 
Breviere,  Andrew,  Best,  Leloir,  Chevauchet,  and  R. 
Hart,  all  of  whose  signatures  appear.  In  a  fine  illus- 
trated edition  of  "Moliere,"  published  in  1845,  with  a 
preface  by  Sainte  Beuve,  there  are  many  hundreds  of 


MODERN    WOOD   ENGRAVING  1 29 

vignette  illustrations  after  Tony  Johannot,  the  prince 
of  popular  French  illustrators.  These  wood  engravings 
have  many  French  signatures  to  them  and  a  sprink- 
ling of  English  wood  engravers,  such  as  Orrin-Smith, 
J.  Thompson,  and  others,  and  as  the  names  Andrew, 
Best,  Leloir,  always  appear  together  as  a  signature,  it 
is  doubtful  whether  this  be  one  wood  engraver  or 
three,  as  in  some  cases  it  seems  to  have  been  the 
practice  for  two  engravers  to  work  together. 

An  edition  of  "  Les  Chansons  de  Beranger  "  with 
a  hundred  and  sixty  illustrations  engraved  on  wood 
appeared  in  1866.  This  volume  contains  many  fine 
designs  and  equally  fine  wood  engravings  bearing  the 
names  of  Pannemaker,  Regnier,  Ansseau,  and  others. 

Among  the  French  wood  engravers  of  more 
modern  days  the  name  of  Edmond  Yon  must  not 
be  omitted.  He  was  a  painter  as  well  as  a  wood 
engraver  and  etcher,  and  his  work  with  the  graver 
conveys  the  most  subtle  suggestion  of  the  particular 
brushwork  he  is  translating.  One  of  his  wood 
engravings  in  particular  which  appeared  in  the  Art 
Journal  as  a  full-page  Illustration  in  the  late  eighties 
entitled  the  La  Guidecca  Canal^  Venice^  from  the 
picture  by  Charles  Lapostolet,  scintillates  with  light. 
The  cloudless  sky  as  a  background  occupies  over 
three-quarters  of  the  engraving,  and  it  is  an  excep- 
tionally fine  rendering  of  tone  graduated  with  intricate 
precision  till  it  melts  into  the  horizon.  Pisan  is 
another  Frenchman  whose  work  stands  out  for  its 
breadth  and  strength. 

In  Germany,  the  home  of  Diirer  and  of  Holbein, 
since  the  days  of  Adolf  von  Menzel  whose  Frederic 

9 


130  CHATS   ON   OLD  PRINTS 

has  mistakenly  been  credited  with  being  the  inspira- 
tion of  the  Pre-Raphaelite  designers,  the  art  of  wood 
engraving  has  never  been  without  its  exponents. 
Since  Vogel,  Ungelmann,  Kretzchmar  and  H.  Miiller 
cut  in  facsimile  Menzel's  designs,  the  light  has  not 
gone  out.  During  the  great  arts  and  crafts  revival  in 
which  all  that  was  best  and  worst  in  Morris  was  dis- 
torted and  plagiarised,  Germany  has  upheld  the 
dignity  of  wood  engraving.  A  fine-art  magazine, 
Meisterwerke  der  Holzschneidekunsty  was  given  up  to 
wood  engraving  to  which  the  best  Continental  en- 
gravers contributed,  including  Weber  of  Leipsic,  and 
Hofel  of  Vienna. 

The  American  school  of  wood  engraving,  largely 
recruited  by  men  who  foresaw  the  bad  days  of  the 
art  in  England,  instinct  with  the  genius  that  has 
made  American  illustrated  magazines  of  world-wide 
reputation,  took  all  that  was  best  of  Europe  and 
remoulded  the  constituents  into  something  that  is 
more  national  in  art  than  anything  America  has  yet 
produced. 

During  the  eighties  some  remarkable  work  ap- 
peared. It  is  mainly  interpretative.  The  number  of 
the  engravers  is  legion.  Unfortunately  they  grew 
to  worship  exactitude  in  their  transcripts  from  old 
canvases,  they  copied  the  brush-marks  and  even  the 
cracks  on  the  canvas.  There  is  a  wood  engraving 
by  W.  B.  Closson  after  a  portrait  by  Vandyck  of 
Charles  I.  and  Queen  Henrietta  Maria,  in  which  the 
dilapidated  state  of  the  canvas  is  most  clearly 
shown  as  a  feature  in  the  wood  engraving. 

Scattered  up  and  down  the  American  magazines 


MODERN    WOOD  ENGRAVING  I3I 

are  to  be  found  many  fine  examples  of  wood  engrav- 
ing, among  many  names  the  work  of  Frank  French, 
G.  Kruell,  Henry  Wolf,  F.  S.  King,  T.  Johnson, 
Wellington,  Bernstrom,  Anderson,  and  Van  Ness. 
But  too  often  there  is  the  indication  of  the  machine 
used  for  producing  elaboration  of  tint-work  in  the 
background  and  in  the  sky.  The  attempt  to  be 
overfine,  and  the  strain  to  compete  with  the  half- 
tone process  block  resulted  in  the  decadence  of  the 
art  of  wood  engraving  carried  on  under  conditions 
unfitted  for  its  use. 

Pannemaker  fils^  trained  in  his  father's  studio  at 
Paris  in  the  art  of  wood  engraving,  and  himself  a 
leader  of  the  new  interpretative  school,  contributed 
a  magnificent  specimen  of  wood  engraving  to  the 
Century  (vol.  xvii.).  It  is  a  marvellous  translation 
into  black  and  white  of  the  celebrated  portrait  known 
as  the  Red  Pope  by  Velasquez  in  the  Doria  Gallery 
at  Rome.  This  is  something  more  than  mere 
mechanical  rendering  of  line  for  line,  it  reproduces 
in  the  language  of  wood  engraving  the  same  sensa- 
tion that  the  original  master  conveyed  with  his 
pigments,  and  there  is  little  lost  in  the  translation 
from  the  golden  bowl  to  the   silver.- 

In  conclusion,  we  take  two  typical  examples  of 
the  modern  school  of  American  wood  engravers,  Mr. 
Elbridge  Kingsley  and  Mr.  Timothy  Cole.  They 
are  both  interpretative  artists  who  bring  true  appre- 
ciation and  gain  inspiration  from  their  subjects  and 
convey  them  to  the  wood  block.  The  one  works  in 
the  open  air  and  derives  his  inspiration  directly  from 
Nature,  the  other  works  with  no  less  inspired  manner 


132  CHATS   ON  OLD  PRINTS 

from  daily  contact  and  contemplation  of  his  subjects 
in  the  great  European  galleries. 

Elbridge  Kingsley  spent  his  boyhood  on  a  farm  in 
Massachusetts.  He  loves  Nature  in  all  her  moods. 
As  early  as  1882  he  engraved  on  his  wood  block  a 
scene  in  black  and  white  no  less  faithfully  than  the 
artist  on  his  canvas  and  easel.  His  work  is  no  less  a 
creation  than  the  painter  etcher's.  His  especial  dis- 
tinction in  the  use  of  the  graver  lies  in  his  beautifully 
delicate  tones  and  in  his  treatment  of  masses.  In 
his  work  as  a  translator  he  reaches  the  artist's  motif 
and  mood.  He  has  engraved  some  fine  blocks  care- 
fully printed  on  Japanese  paper  which  have  never 
reached  the  English  public,  but  in  his  engravings 
after  the  Barbizon  School  of  Corot,  of  Diaz,  of 
Daubigny,  of  Rousseau,  and  of  Troyon,  he  succeeds 
in  catching  the  elusory  styles  of  these  painters 
which  stamps  his  work  as  of  the  highest  order. 
In  the  Century  (1889)  there  is  a  fine  wood  engrav- 
ing by  Kingsley  after  Theodore  Rousseau's  picture, 
TJie  Ravines  of  Apremotit^  and  in  the  Century 
(February,  1891),  Twilight  after  Rousseau  is  a 
masterpiece  of  wood  engraving. 

Mr.  Timothy  Cole  represents  another  phase  of 
wood  engraving.  He  is  equally  interpretative,  and  he 
reproduces  from  the  canvases  of  the  old  masters  the 
qualities  of  their  styles.  The  bulk  of  his  work  has 
appeared  in  the  Century  Magazine  in  his  remarkable 
series  of  wood  engravings  after  the  old  masters  in  the 
leading  galleries  of  Europe.  The  Dutch  and  the 
Italian  Old  Masters  were  published  in  England  by 
Mr.  Fisher   Unwin,  and   the  Old    English  Masters 


JACQUELINE   DE   CAESTRE. 

From  a  Wood  Engraving  by  Timothy  Cole  after  Rubens. 
(Size  of  original  engraving  S^g  in.  by  6^^  in.) 


By  kind  permission  of  tJie  Century  Co.,  Nenv  York. 


\To  face  pai^e  132. 


MODERN    WOOD  ENGRAVING  133 

were  published  by  Messrs.  Macmillan.  In  this  latter 
issue  of  wood  engravings  an  edition  de  luxe  was  issued 
at  thirty  guineas  net.  This  edition  is  printed  on 
hand-made  paper,  and  is  accompanied  by  two  port- 
folios of  proofs  on  Japanese  paper,  each  engraving 
signed  by  the  artist. 

Mr.  Timothy  Cole  was  born — as  was  Browning — at 
Camberwell,  and  went  to  America  when  a  child.  He 
was  apprenticed  at  Chicago  to  wood  engraving,  and 
built  his  style  largely  on  W.  J.  Linton's  work,  who 
commended  him  in  his  early  efforts.  He  is  most 
thorough  in  his  methods.  In  his  pilgrimage  to  the 
galleries  of  Europe  he  lives  with  his  subjects  and 
does  not  allow  haste  to  creep  into  anything  he 
undertakes. 

He  is  essentially  a  member  of  the  new  school  of 
engraving,  and  Linton's  formulae  as  to  objects  in  the 
foreground  being  bolder,  and  in  the  background 
finer,  has  little  place  in  his  technique.  He  seeks 
by  every  known  means  to  reproduce  in  black  and 
white  what  the  artist  portrays  in  colours.  He  applies 
himself  faithfully  to  study  the  technique  of  the 
original  before  he  translates  it  into  wood  ^engraving. 

His  method  is  to  get  a  photograph  of  the  original 
picture  on  the  wood  block  and  to  sit  with  his  back  to 
the  canvas,  having  a  mirror  to  show  the  picture  in 
reverse.  He  is  thus  able  week  after  week  to  live  with 
his  picture  in  the  Vatican  or  in  the  Louvre,  or  at  the 
Pitti  Gallery  at  Florence,  or  at  the  National  Gallery 
in  London.  His  magnificent  series  after  the  old 
masters  stands  as  a  monument  to  his  powers  as  the 
greatest    living   interpretative   wood    engraver.      In 


134  CHATS   ON  OLD  PRINTS 

the  illustration  we  reproduce  of  a  wood  engraving 
by  him  oi  Jacqueline  de  Caestre^  wife  of  Jean  Charles 
de  CordeSy  by  Rubens,  from  the  original  at  Brussels, 
it  loses  somewhat  by  a  slight  reduction,  but  it  con- 
veys the  brilliant  colouring  and  the  voluptuousness 
of  that  master's  work  in  a  manner  impossible  to  any 
process  work  yet  invented.  This  is  the  last  word 
of  wood  engraving  and  if  it  is  a  moribund  art  it  dies 
hard. 


VI 

LINE 

ENGRAVING 
THE  EARLY 
MASTERS 


CHAPTER   VI 

LINE   ENGRAVING— THE   EARLY  MASTERS 

The  teclmiaue  of  line  engraving — The  early  Italian  school 
— Albert  Diirer  and  the  German  school — Lucas 
van  Leyden  and  the  Dutch  school — Early  work  in 
England. 

The  Technique. — In  pure  line  engraving  only  the 
graver  is  used  and  etching  is  not  employed  in  the 
outline.  But  a  great  number  of  plates  are  slightly 
etched  before  being  worked  upon  by  the  graver.  In 
line  engraving  a  plate  preferably  and  usually  of 
copper  is  used,  and  into  the  highly-polished  surface 
of  this  copper  the  design  is  cut  with  the  tool  known 
as  the  graver  or  burin.  This  is  a  prism-shaped  bar 
of  steel  with  a  sharp  point,  having  a  wooden  handle 
which  rests  in  the  engraver's  hand,  the  motion  being 
applied  by  means  of  his  palm,  and  directed  by  his 
thumb  and  forefinger,  which  rest  on  each  side  of  the 
graver  towards  the  point.  This  tool,  as  the  engraver 
uses  it  on  the  face  of  the  metal  in  producing  the 
furrow,   dislodges   a   thin   strip   of    metal.     With   a 

137 


138  CHATS   ON  OLD  PRINTS 

properly-sharpened  graver  very  little  "  burr "  is 
made  in  cutting,  the  metal  being  removed  with  a 
clean  shaving.  In  dry  point,  which  has  been  referred 
to  in  connection  with  etching,  this  burr  or  slight 
ridge  at  the  edges  of  the  furrow  gives  a  quality  to 
the  finished  result  in  the  print,  but  in  line  engraving 
all  burr  is  removed  by  a  tool  called  the  scraper. 

When  the  whole  design  has  been  incised  on  the 
metal  in  this  manner,  the  plate  is  inked  and  then 
wiped.  The  ink  fills  the  channels  cut  by  the  graver, 
and  the  plate  is  passed  through  a  printing  press 
having  a  damp  sheet  of  paper  pressed  into  the  cut 
lines,  which  pressure  transfers  the  ink  from  the  plate 
on  to  the  surface  of  the  paper.  The  result  is  a 
print. 

By  this  time  the  beginner  will  have  come  to  realise 
that  all  engraving  is  in  reverse,  that  is  to  say,  all 
objects  cut  on  the  metal  face  the  reverse  way  they 
face  when  printed.  A  blacksmith  wielding  a  hammer 
would  hold  it  in  his  left  hand  when  drawn  on  the 
copper ;  in  the  finished  print  from  the  copper  plate 
he  would  be  right-handed.  Upon  holding  any  print 
to  a  mirror  it  will  be  seen  what  the  copper-plate 
design  looked  like  when  inked. 

Since  the  graver  is  pushed  forward  away  from  the 
engraver,  and  not  held  in  the  natural  way  as  is  a 
pencil  or  pen,  the  method  is  far  less  spontaneous 
than  etching.  The  burin  cannot  attempt  any  sudden 
or  momentary  impulse  of  the  artist,  whereas  the 
etching  needle  is  as  free  as  a  crayon  upon  paper. 
In  the  old  days  four  or  five  years  was  no  uncommon 
period   for  an  engraver  to  be   employed  upon  one 


•   •  4  * 
**• 


.••        o* 


LINE  ENGRAVING — EARLY  MASTERS  1 39 

plate.  It  is,  therefore,  the  most  laborious  and  the 
most  studied  in  its  effects  of  all  forms  of  engraving. 

As  in  the  case  of  etching  in  its  early  years  it  was 
employed  by  men  who  were  painters  as  well  as 
engravers.  These  early  masters  did  not  copy  their 
own  painted  works,  but  simply  produced  their  draw- 
ings on  the  copper,  which,  when  printed  on  paper, 
could  be  multiplied  and  widely  circulated.  Later  it 
came  to  be  the  translation  by  the  most  careful, 
finished,  and  accomplished  method  of  the  great 
masterpieces  of  the  painter's  art.  The  great  Italian 
school,  who  succeeded  the  goldsmiths  who  discovered 
the  process,  possessed  the  highest  qualities  of  truth 
and  beauty.  From  the  middle  of  the  fifteenth  to  the 
middle  of  the  sixteenth  century  men  whose  names 
are  renowned  as  painters  worked  with  the  graver. 
These  original  conceptions  of  genius  have  something 
peculiar  in  quality,  indefinable  by  verbal  description, 
from  .even  the  highest  achievements  of  the  greatest 
master-interpreters. 

In  Italy  there  was  the  school  of  Florence  with 
Botticelli  and  Baldini,  Fra  Lippi  and  Robetta.  At 
Padua  there  was  Andrea  Mantegna.  Bologna  and 
Modena  and  Venice  vied  with  each  other,  and  Rome 
boasted  of  Marc  Antonio  Raimondi,  who  reproduced 
the  designs  of  Raphael  under  the  master's  supervision. 
At  Bologna,  Marc  Antonio  had  wrought  in  the  sweet 
school  of  Francesco  Francia,  at  Venice  he  had 
executed  his  famous  series  of  imitations  after  Albert 
Dlirer.  He  was  at  Florence  from  1510  to  15 12,  but 
it  v/as  the  school  of  Rome  which  claimed  him  as  her 
own.     In   his  wonderful  plates — The  Three  Doctors 


140  CHATS   ON   OLD  PRINTS 

St.  Cecilia^  Dance  of  the  Cupids,  and  The  Five  Saints — 
he  establishes  his  claim  to  be  regarded  as  one  of  the 
first  and  one  of  the  most  remarkable  of  the  great 
succession  of  interpretative  engravers. 

We  reproduce,  (facing  p.  138),  two  of  Marc 
Antonio's  engravings  after  designs  of  Raphael  entitled 
Temperance  and  Faith.  It  should  be  mentioned  that 
the  works  of  Marc  Antonio  are  very  numerous,  and 
although  such  a  fine  print  as  the  Massacre  of  the 
Innocents  after  Raphael  may  fetch  anything  from 
£^0  to  £\^o,  according  to  state,  yet  he  is  by  no 
means  beyond  the  reach  of  the  poor  collector. 
Although  many  forgeries  are  on  the  market  of  his 
more  important  plates,  yet  it  is  possible  to  procure 
very  fair  examples  of  his  work  at  reasonable  sums. 
The  Presentation  in  the  Temple  may  be  bought  for 
15s.,  The  Flight  into  Egypt  for  the  same  money,  or 
a  fine  impression  of  the  set  of  Virtues^  such  as  we 
illustrate,  at  a  guinea  apiece. 

In  Germany  the  school  of  Nuremburg  became 
illustrious.  The  Van  Mechens,  father  and  son,  and 
Martin  Schongauer  (1445-1499)  and  Albert  Diirer 
(147 1- 1 5  28)  all  contributed  to  carry  the  dexterity  of 
the  graver  to  a  point  of  perfection  not  reached  by  the 
Italian  school.  Marc  Antonio  Raimondi  reproduced 
Durer's  designs  across  the  Alps  till  his  flagrant  imita- 
tions became  a  scandal.  In  spite,  however,  of  the 
mechanical  inferiority  of  the  rudest  Italian  engraving 
it  is  superior  in  feeling,  grace,  and  spirituality  to  the 
more  finished  German  work.  Although  for  impressive 
strength,  for  exquisite  technique,  and  for  brilliance  of 
effect  no   line  engravings   were   executed   that   can 


MADONNA   AND    CHILD. 


From  a  Line  Engraving  by  Albert  Diirer. 
{Size  cf  original  4I  in.  by  6  in.) 


[To  face  page  140. 


LINE  ENGRAVING — EARLY  MASTERS  I4I 

compare  with  the  best  examples  of  Albert  Dlirer  and 
Martin  Schongauer,  to  whom  must  be  added  Lucas 
van  Leyden  of  the  Dutch  school. 

The  reproduction  of  the  fine  engraving  by  Albert 
Dlirer  of  the  Madonna  and  Child,  executed  in  15 18, 
exhibits  that  master  at  his  best.  The  strength  of  his 
design  has  already  been  shown  in  the  wood  engraving 
of  Samson  Slaying  the  Lion  (opposite  'p.  80).  The 
number  of  Diirer's  prints  is  very  great,  and  among 
the  best  known  are  The  Prodigal  Son  (1504),  The 
Knight,  Death,  and  the  Devil  (15 13),  Melancholia 
(15 14),  and  the  beautiful  series  known  as  the  Passion 
in  Copper  (1508-15 13),  to  distinguish  it  from  the 
same  subjects  executed  in  wood. 

Although  many  of  the  prints  of  Diirer  command 
very  high  prices  ;  for  instance,  Melancholia  in  brilliant 
condition  has  brought  over  £60,  and  St,  Hubert 
Kneeling  before  a  Stag  as  much  as  £160,  yet  it  is  not 
impossible  to  obtain  prints  by  Diirer  for  insignificant 
sums.  The  collector  cannot  be  too  wary  in  submit- 
ting all  prints  offered  to  him  as  the  work  of  Diirer  to 
the  most  searching  examination,  as  forgeries  of  his 
work  have  been  extant  from  his  own  day.  The 
Standard  Bearer,  a  small  print,  may  be  procured  for 
half  a  sovereign.  St,  Sebastian  (attached  to  a  tree) 
for  £\  5s.,  or  an  odd  print  from  the  sets  of  the 
Passion  for  half  a  sovereign.  But  the  beginner  is 
strongly  advised  not  to  commence  with  Diirer  and 
embark  upon  the  hazardous  enterprise  of  attempting 
to  obtain  bargains  in  Diirer  prints.  It  is  really  only 
after  years  of  special  study  that  the  old  hand  is  able 
now  and  then  by  a  rare  chance  to  pick  up  a  fine  print 
for  a  small  sum. 


142  CHATS   ON   OLD  PRINTS 

From  the  death  of  Durer  in  1528  the  German 
traditions  were  carried  on  during  the  sixteenth 
century  by  the  group  of  seven  engravers  known  as 
the  "  Little  Masters  "  by  reason  of  the  small  size  of 
their  plates.  Heinrich  Aldegrever  {1502-15 58), 
Albrecht  Altdorfer  (1480-1538),  Hans  Sebald 
Beham  (i  500-1 550)  and  Barthel  Beham  (1496- 
1540)  Pencz  (1500-15 50),  Jakob  Binck  (1490-1569), 
Hans  Brosamer  (born  in  1506),  the  last  three  being 
pupils  of  Durer.  The  price  of  prints  of  this  group 
cannot  be  said  to  be  cheap,  but  a  Brosamer  may 
occasionally  be  met  with  for  half  a  sovereign. 
Aldegrever  and  Altdorfer  run  into  pounds.  The 
Medea  and  Jason  of  Pencz  or  his  Crucifixion  may 
be  bought  for  a  sovereign,  and  some  of  his  prints 
for  as  little  as  5s.  apiece.  Barthel  Beham's  Death  of 
Cleopatra  is  cheap  at  half  a  sovereign,  and  Hans 
Sebald's  Leda  may  be  procured  for  15s.  as  a  bargain. 

Lucas  van  Leyden,  the  friend  of  Durer,  is  the 
patriarch  of  the  Dutch  school.  At  the  age  of  nine 
he  had  engraved  plates  after  his  own  designs.  His 
plates  are  a  hundred  and  ten  in  number.  Among  the 
great  engravers  of  the  Renaissance  of  the  North  his 
name  stands  hardly  less  eminent  than  that  of  Diirer. 
His  great  excellence  lies  in  ornament.  His  Panels  of 
Ornaments  have  characteristics  not  dissimilar  to 
Durer's  Coat  of  Anns  with  the  Cock, 

The  Low  Countries  adopted  the  Germanised 
version  of  the  Italian  schools  until  in  the  seventeenth 
century  Rubens  and  Vandyck  created  schools  of  their 
own.  Rubens  with  his  love  of  colour  demanded  a 
free  and   flowing   style   to   interpret  his  voluptuous 


PORTRAIT  OF  VANDYCK. 

From  a  Line  Engraving  by  Vorsterman,  after  Vandyck. 

{Size  of  original  engraving  6J  by  9§  i"-) 

[To  face  page  142. 


LINE  ENGRAVING — EARLY  MASTERS  1 43 

beauties.  Both  Rubens  and  Vandyck  threw  ofif  the 
shackles  of  stiff  and  precise  line  work  in  engravings 
after  their  canvases,  and  introduced  the  grace  and 
freedom  of  the  Italian  Renaissance  into  the  line 
engravers'  work  done  under  their  guidance. 

Paulus  Pontius,  Bolswert,  Lucas  Vorsterman  (1578- 
1660)  and  his  son  of  the  same  name  (who  worked 
about  1630)  and  Pieter  de  Jode  the  younger,  born  at 
Antwerp  in  1606,  whose  father  was  a  pupil  of  Hendrik 
Goltzius  ( 1 588-1617),  a  masterly  engraver,  all  en- 
graved after  Rubens  and  Vandyck,  and  it  was  their 
practice  to  use  etching  freely  in  the  translation  of  the 
artist's  picture  upon  the  copper  plate  prior  to  the  use 
of  the  graver. 

We  reproduce  a  splendid  example  of  engraving 
by  Lucas  Vorsterman  the  elder  after  Vandyck's 
Portrait  of  himself.  This  cost  the  writer  los., 
and  is  an  excellent  specimen  of  the  school  of  the 
Low  Countries  of  the  seventeenth  century. 

Line  engraving  first  makes  its  presence  known  in 
England  in  Armada  days  in  William  Rogers,  who 
worked  from  1588  to  1604.  He  derived  his  inspira- 
tion from  De  Bry,  an  engraver  from  Liege,  who  settled 
in  England.  Rogers  stands  foremost  as  the  most 
distinctive  native  artist.  His  magnificent  full-length 
portrait  of  Queen  Elizabeth  deserves  especial  praise. 
Thomas  Coxon,  who  worked  about  the  same  date, 
engraved  portraits,  and  has  the  honour  of  being  the 
first  Englishman  to  produce  an  engraved  caricature. 
Renold  Elstracke,  a  Fleming,  who  settled  in  England 
(i 598-1635),  is  another  early  master  whose  work, 
together  with  the  above  named,  had  its  influence  on 


144  CHATS   ON  OLD  PRINTS 

helping  to  found  the  English  school.  In  1616,  Simon 
van  de  Passe,  and  in  162 1,  Willem  van  de  Passe, 
sons  of  Crispin  van  de  Passe,  the  great  engraver  of 
Utrecht,  settled  in  England  and  established  a  definite 
school  of  engravers  in  this  country. 

Their  pupils,  and  those  whom  they  immediately 
influenced,  include  William  Hole,  Francis  Pelaram, 
John  Payne,  Thomas  Cecill,  William  Marshall, 
George  Glover,  and  Robert  Vaughan.  In  Eliza- 
bethan days  the  strength  of  the  first  group  lay  in 
their  decorative  quality  in  the  management  of  the 
line  and  in  their  use  of  the  dot.  In  heraldic  device 
and  in  ornament  they  were  especially  remarkable. 
The  later  group  departed  from  this  style  and  their 
work  took  its  technique  from  the  Netherlands. 

It  is  unknown  whether  Crispin  van  de  Passe  ever 
worked  in  England,  but  there  is  a  magnificent 
engraved  portrait  of  Queen  Elizabeth  after  Isaac 
Oliver  in  the  possession  of  the  King.  Among  other 
well-known  portraits  by  the  same  engraver  may  be 
mentioned  Robert  Sidney,  Earl  of  Leicester,v^ox\h  ^3, 
Sir  Francis  Drake,  dated  1 598,  having  six  lines  under 
portrait,  £2  15s.,  and  Henry,  Earl  of  Southampton, 
worth  30s. 

Of  the  sons  of  Crispin  Van  de  Passe,  both  engraved 
portraits  of  the  English  nobility,  the  prints  of  Willem 
van  de  Passe,  executed  wholly  with  the  graver  with- 
out the  use  of  etching,  are  the  more  highly  esteemed 
by  collectors.  His  fames  I.  and  his  Prince  Charles, 
afterwards  Charles  I.,  are  both  rare  prints.  Of  his 
brother  Simon  there  are  a  great  number  of  portraits  all 
of  value,  though  not  infrequently  a  specimen  may  be 


<t'< 


SIR  WALTER   RALEIGH. 

From  a  Line  Engraving  by  Simon  de  Passe. 

[To  face  f>age  144. 


¥ 


LINE  ENGRAVING — EARLY  MASTERS  145 

secured  for  a  comparatively  small  sum.    Edward  VI, 
may  be  bought  for  half  a  sovereign.     Henry  Wrioth- 
sleyy  Earl   of   Southampton^   for    15  s.     Sir    Walter 
Raleigh  for   35s.     Of   this   latter  we   reproduce   an 
illustration,   (facing  p.  144),  with   inscription,  "  The 
true     and    lively    portraiture     of    the    honourable 
and  learned  Knight,  S"^  Walter  Raleigh."     There  is 
another   fine   portrait   taken    from    the    many    fine 
portraits  left  to  posterity  by  Simon  van  de  Passe, 
of  Sir  Francis  Bacon^   which   we   reproduce    with 
inscription   denoting  that    like   prints   "Are   to   be 
Sould  by  lohn  Sudbury  &  George  Humble  at  the 
Signe  of  the  white  horse  in  Pope's  head-Ally."     The 
coat  of  arms  at  the  top  of  the  ornamental  scroll  bear- 
ing the  motto  Moniti  meliora^  with  its  stars  and  stripes 
as   quarterings,   gives   a   piquancy   to    the    feverish 
interest  exhibited  in   America,  which  pertinaciously 
continues,  in   spite   of  all   disproof,  to  attribute   to 
Bacon  all  that  Shakespeare  wrote.  (Opposite  p.  146.) 
The  engravers  of  Tudor  days  were  more  or  less 
imbued     with     Continental     technique     and     with 
Flemish     traditions  ;     innumerable     portraits    were 
engraved,   both  in   England  and  abroad,  of  Queen 
Elizabeth,  who  loomed  large  in   European  politics. 
But  with  the  Stuart  dynasty  arose  a  new  school  of 
engravers,  more  national,  and   having  a  fine  sense 
of    the    picturesque.     Vandyck    had    painted    his 
gallery  of  beauties  and  his  courtly  band  of  noble- 
men— all  that  was  fair  and  all  that  was  chivalrous  in 
an  age  when  graceful  elegance  in  costume  was  at  its 
zenith.     His  masterpieces  of  the  English  aristocracy 
are   scattered   across   the   great   European   galleries 

10 


146  CHATS   ON  OLD  PRINTS 

from  the  Hermitage  at  St.  Petersburg  to  the  Prado 
at  Madrid,  as  a  record  of  a  galaxy  of  unrivalled 
beauty  and  the  flower  of  the  English  nobility  before 
the  stormy  days  of  the  Civil  War.  Vandyck  lived 
in  sumptuous  style  at  Eltham  in  the  summer,  at 
Blackfriars  in  the  winter,  and  enjoyed  to  the  full 
the  splendid  recognition  of  the  Court  and  of  the 
nobility.  He  died  at  Blackfriars  in  1644,  ^  year 
before  Naseby,  but  not  before  many  of  his  subjects 
had  bitten  the  dust. 

Vandyck  would  have  turned  in  his  grave  had  he 
known  that  his  fine  equestrian  portrait  of  Charles  I. 
with  an  equerry  bearing  a  helmet — now  in  the 
National  Gallery — was  engraved  by  Pierre  Lombart, 
who  inserted  in  place  of  the  head  of  Charles  I.  that 
of  CroniwelL 

Of  the  seventeenth-century  engravers  in  England 
there  is  the  work  of  William  Faithorne  the  Elder 
(1616-1691),  whose  portraits  of  Thomas,  Lord  Fairfax, 
see  illustration  facing  p.  148  (worth  £\2  in  proof 
state),  Thomas  Killigrew  (worth  £^  for  a  fine  print), 
and  Catherine  of  Braganza,  Queen  of  Charles  H. 
(worth  £dp,  a  fine  proof  before  lettering),  are  re- 
markable. These  are  almost  taken  at  random  from 
a  magnificent  series  of  fine  portraits  worked  almost 
entirely  with  the  graver  by  this  renowned  artist  of 
London,  who  was  born  within  sound  of  Bow  Bells 
and  died  in  Printing  House  Yard,  Blackfriars.  He 
fought  against  the  Puritans,  and  after  his  release 
when  the  war  was  ended  he  opened  a  shop  near 
Temple  Bar,  where  he  sold  his  own  prints  and  those 
of  famous  Dutch  and  Italian  engravers.     It  is  pecu- 


J 


I  ^    »      i    a       » 


SIR   FRANCIS  BACON. 


From  a  Line  Engraving  by  Simon  de  Passe. 

[To  face  page  146. 


LINE  ENGRAVING — EARLY  MASTERS  1 47 

liarly  appropriate  that  at  the  present  day  the  neigh- 
bourhood of  Blackfriars  should  be  given  up  to  the 
production  of  illustrated  magazines  and  journals 
printed  by  the  latest  twentieth-century  presses, 
turned  out  by  tens  of  thousands.  The  spirit  of 
Vandyck  and  the  spirit  of  Faithorne  are  evergreen, 
and  it  is  a  pity  that  Tallis  Street  and  Temple 
Avenue  should  not  straightway  become  Faithorne 
Street  and  Vandyck  Avenue. 

David  Loggan  (1635-1698),  born  at  DantziCj  with 
his  marvellous  portrait  of  Sir  Thomas  Iskam,  in  line, 
not  to  be  confounded  with  his  mezzotint  portrait  of 
the  same  subject,  must  be  mentioned  in  passing. 

William  Sherwin,  born  in  Shropshire  about  1650, 
who  worked  from  1670  to  17 10,  executed  some  fine 
portraits  in  line  as  well  as  in  mezzotint.  His  fine 
portrait  of  Charles  II.  in  line,  which  is  infinitely 
superior  in  character  to  his  mezzotint  portrait  of 
the  "  Merry  Monarch,"  which  is  picturesque  and  pos- 
sessed of  less  character,  is  a  masterpiece  of  sound 
engraving.  It  resembles  in  verisimilitude  the  waxen 
Q^gy  of  Charles  II.  in  Bishop  Islip's  Chantry  in 
Westminster  Abbey,  which,  with  its  peculiarly 
wizened  and  singularly  shrewd  expression,  is  a 
sight  never  to  be  forgotten,  recording  in  wax  more 
faithful  than  sculptured  marble  the  features  of  the 
profligate  king  taken  after  death. 

Robert  White  (1645- 1704),  ^  pupil  of  David 
Loggan,  brings  the  engravers'  work  down  to  Sir 
Godfrey  Kneller's  day,  and  that  artist's  portrait  of 
Sir  Roger  V Estrange  is  engraved  by  White  in  mas- 
terly style.     His   Pepys  is  worth  a  guinea,  and  he 


148  CHATS   ON   OLD  PRINTS 

has  engraved  a  fine  portrait  of  the  notorious  Judge 
Jeffreys  after  Kneller  (worth  £'^  15s.),  showing  a 
physiognomy  in  defiance  of  all  Lavater's  laws,  and 
seemingly  representing  a  mild-mannered  beau  of 
gentle  mien. 

In  latter  days  mezzotint  became  the  paramount 
art  of  engraving,  and  line  found  its  most  powerful 
exponents  in  the  wonderful  French  school  in  the 
days  of  Louis  XIV.,  while  in  England  the  growth 
of  mezzotint  engraving  developed  to  such  an  extent 
that  it  became  almost  the  English  manner. 

Among  the  last  of  the  long  line  of  portrait  en- 
gravers in  line  are  Jacobus  Houbraken,  a  Dutch 
engraver,  and  George  Vertue  (1684- 17 56),  ^  London 
engraver,  buried  in  the  cloisters  of  Westminster 
Abbey.  In  the  "  Heads  of  Illustrious  Persons  of 
Great  Britain,"  published  in  1747,  some  of  their 
best  work  may  be  found.  There  is  overmuch  orna- 
mentation in  scroll  and  border.  The  portrait  is 
almost  killed  by  the  design  in  which  it  is  set.  This 
over-elaboration  of  frame  dates  from  early  days,  and 
in  all  portrait-prints  this  tendency  to  appropriate 
detail  is  detrimental  to  the  main  object.  The 
scholar  has  his  tomes  of  philosophy  or  poetry,  and 
the  soldier  has  his  border  of  artillery  and  the 
gorgeous  panoply  of  war. 

Prints  from  these  two  engravers  are  not  difficult 
to  find  at  a  reasonable  sum  for  the  modest  collector. 
They  vary  considerably  in  price,  and  this  is  probably 
owing  to  their  biographic  or  literary  importance. 
Vertue's  Ben  Jonson  is  worth  £\o^  his  Swijt  £^^ 
his  Dry  den   may   be   had   for  los.,  or  his    Thomas 


r  f/    /H  n^  "^c  :~ 

rfAX  UenzrziiL  .7  di 


'///.'.■   (^^•^//.'. 


',  C  /• 


J>rw»/i-'- 


,  4r  t  ifJI^y  -A   *-S#».;,  Ji./,  ««  nmriUr, 


SIR  THOMAS   FAIRFAX. 


From  a  Line  Engraving  by  William  Faithorne  the  Elder. 

[To  /ac€  fage  148. 


*'  *  *    *      • 


;l;^?Ui: 


LINE  ENGRAVING — EARLY  MASTERS  1 49 

Sackville^  Earl  of  Dorset^   a   magnificent   piece   of 
engraving,  for    5s.     Houbraken,  like  Vertue,  varies 
considerably  in   price.      A  proof  of  his   Dryden  is 
worth   ;^4,    George    Villiers^  Duke    of  Buckingham^ 
proof  before  letters,  ;^3  los.,  and  many  of  his  other 
portraits  of  lesser  known  personages  may  be  easily 
procured  for  a  few  shillings.     These  have  been  taken 
from  "  The  Heads  of  Illustrious   Persons  of  Great 
Britain,"  in   two  volumes   folio,  the  first  edition  of 
which  appeared  in  1747- 175 2.     This  work  is  often 
"broken    up"   by   printsellers,  who    find    that    the 
108  portraits   engraved   by  "Mr.  Houbraken"   and 
"  Mr.   Vertue "   when   sold   separately   realise    more 
than  the  volume,  which  sells  for  about  ten  pounds. 
Collectors   cannot   be  too  careful   to  examine  the 
state  of  any   separate   print   they  buy,  as   the   old 
plates  have  been  printed  from  times  without  number 
and  up  to  quite  recent  days.     But  Houbraken  at  his 
best  is  superb.     Raphael  Morghen,  the  great  Italian 
engraver,   said    of   him :    "  No    engraver    has    ever 
equalled,  and    probably  will   not  equal,  the  Dutch- 
man, Jacobus  Houbraken,  in  the  manner  of  imitating 
the  flesh  and  the  hair  by  means  of  the  graver." 


VII 

LINE  ENGRAVING 
SEVENTEENTH-CENTURY 
FRENCH  SCHOOL 


CHAPTER  VII 

LINE    ENGRAVING— SEVENTEENTH-CENTURY 
FRENCH  SCHOOL 

The  great  school  of  Louis  XIV. — Colbert  founds  the 
Gobelins  with  Lebrun  as  director — Robert  Nanteuil 
— Gerard  Edelinck — Gerard  Audran  and  Antoine 
Masson — The  dawn  of  the  eighteenth  century. 

There  is  a  tendency  to  be  discouraged  in  the 
amateur  who  is  prone  to  disregard  the  work  of 
other  countries.  The  collector  of  old  Staffordshire 
and  Wedgwood  pottery  is  apt  to  lose  sight  of  the 
finer  productions  of  Italy  and  of  Spain,  and  the  lover 
of  Dresden  and  of  Sevres  is  wont  to  forget  that  the 
whole  school  of  Oriental  porcelain  puts  to  the  blush 
anything  that  Europe  has  ever  produced.  Similarly 
in  engraving  while  laboriously  collecting  the  English 
masters  it  should  be  borne  in  mind  that  the  whole 
field  of  Europe  might  similarly  be  laid  in  fee,  and 
that  English  engraving  is,  after  all,  but  part  of  a 
whole. 

In  the  reign  of  Louis  XIV.,  when  the  fine  arts 
received  every  encouragement  from   the  State,  the 

153 


154  CHATS   ON  OLD  PRINTS 

art  of  engraving  in  line  reached  its  high-water  mark. 
During  that  period  its  brilliance  and  its  command  of 
technique,  its  delicacy  and  its  exquisite  execution 
almost  stand  unrivalled  against  all  competitors. 
Robert  Nanteuil  (1626-1678)  is  its  chief  and  leading 
exponent.  Colbert,  the  French  Mecaenas,  assembled 
together  at  the  royal  establishment  at  Gobelins  not 
only  weavers  of  tapestry,  but  other  craftsmen  and 
artists,  under  the  direction  of  Lebrun,  and  foreign 
engravers  were  summoned  thither,  as  was  Edelinck 
from  Antwerp,  to  translate  French  masterpieces  and 
to  establish  in  France  a  school  which  should  per- 
petuate the  memory  of  the  Grande  Monarque.  The 
idea  of  the  foundation  of  the  Gobelins  tapestry 
works  and  its  concomitant  band  of  painters  and 
designers  and  engravers  was  as  Italian  in  con- 
ception as  the  school  of  artists  working  at  Florence 
under  the  patronage  of  Lorenzo  de  Medici. 

There  was  Jean  Pesne  (who  set  himself  to  interpret 
the  works  of  Poussin),  Etienne  Baudet  and  Gantrel, 
Francois  de  Poilly  and  Roullet,  Masson  and  Claudine 
Bouzonnet,  known  as  Claudia  Stella,  a  female  en- 
graver of  extraordinary  power  ;  and,  above  all,  Robert 
Nanteuil,  to  uphold  the  traditions  of  this  school. 

The  portraits  of  Nanteuil  have  a  masterly  refine- 
ment which  stamp  them  as  being  at  once  and 
without  challenge  among  the  greatest  line  en- 
gravings ever  produced.  His  technique  is  varied 
according  to  the  particular  quality  he  wishes  to 
express  in  his  portrait.  With  dexterous  touch,  that 
subsequent  engravers  marvel  at,  he  conveys  the  in- 
timate character  of  the  person  whom  he  is  engraving 


R.  Nanteuil. 


Sculpt. 


LE  GRAND  TURENNE. 

dans  sa  jeunesse. 


(From  a  Line  Engraving  on  copper,  by  R.  Xanteuil.) 
(Size  of  original,  6|  ///.  by  8|  in.) 


[To  face  fage  154. 


LINE  ENGRAVING — FRENCH  SCHOOL  1 55 

as  surely  as  though  the  sitter  had  betrayed  his  per- 
sonality, and  the  lines  of  his  burin  are  as  powerful  as 
the  strokes  of  the  brush  of  Mr.  Sargent.  His  gallery 
of  seventeenth-century  portraits  conveys  as  much 
illumination  as  the  pages  of  the  writers  of  the  secret 
Memoirs  of  the  Court.  But  he  is  no  satirist,  the 
delicacy  of  his  lines  show  a  grace  and  elegance 
unequalled  by  any  engraver  either  before  or  since. 
The  particular  freedom  of  touch  with  which  he 
engraves  the  soft  silky  lines  of  the  flowing  hair 
of  his  subjects  is  particularly  pleasing.  The  glowing 
texture  of  their  satin  doublets,  or  the  pulsating  life 
in  their  hands  or  in  the  flesh  tints  in  the  face  is  not 
black-and-white  art,  it  is  a  mirror  held  to  life  itself. 
In  his  magnificent  portraits  of  Turenne^  in  his  later 
years,  of  Lamothe  Le  Vayer^  and  of  Loret^  this 
powerful  realisation  of  character  coupled  with  an 
unequalled  grace  and  delicacy  is  especially  marked. 
It  is  ridiculous  that  such  a  portrait  as  Marshal 
Turenne  should  be  bought  for  two  guineas,  or  Car- 
dinal Mazarin  for  three  guineas,  or  the  Prince  de 
Conde  for  £2^  or  Christina^  Queen  of  Sweden,  for  a 
sovereign,  or  John  Evelyn  for  15  s.,  and  some  of  his 
lesser-known  portraits  for  los.  or  even  less,  when 
English  mezzotints,  good,  bad,  and  indifferent,  bring 
absurdly  large  prices  at  Christie's  and  elsewhere.  This 
fact  shows  indisputably  that  in  art  the  English  amateur 
is  led  by  the  nose  by  the  fashionable  dealer.  Magni- 
ficent mezzotints  are  doubtless  worth  magnificent 
prices,  but  all  mezzotints  are  not  worth  the  prices 
they  bring  in  the  auction-room.  It  were  better  if 
collectors  studied  the  art  of  engraving  as  a  whole, 


156  CHATS   ON  OLD  PRINTS 

and  exercised  their  knowledge  in  obtaining  prints 
of  masters  whose  genius  in  interpretation  is  no  less 
pronounced  than  is  the  work  of  second-rate  scrapers 
in  mezzotint  of  late  eighteenth-century  days. 

We  reproduce  a  fine  portrait  by  Nanteuil  of  Le 
Grand  Turenne  in  his  youth,  showing  the  sweet  and 
delicate  face  of  a  boy  on  the  threshold  of  life.  The 
flowing  hair  and  the  face  unlined  by  care  are  drawn 
with  a  delicacy  unsurpassed  by  any  English  line 
engraver  of  any  school.  The  texture  of  the  lace 
collar  and  the  satin  dress  are  marvellous  exhibi- 
tions of  mastery  of  technique.  The  very  simplicity 
of  the  portrait  conceals  its  art.  In  the  reproduc- 
tion of  Nanteuil's  portrait  of  Cardinal  Richelieu^ 
the  subtlety  and  watchfulness,  the  restraint  and  the 
untiring  energy  are  all  shown  in  the  line  portrait. 
Another  subject  requires  another  treatment,  and  the 
graver  is  put  to  different  interpretation.  The  locks 
t?urning  white,  the  dark  lines  settling  in  permanent 
rings  under  the  eyes,  the  firm  mouth,  and  the  chin 
like  that  of  Charles  I.,  denoting  love  of  intrigue, 
together  with  the  pallid  complexion  of  the  Cardinal, 
whose  life  lay  indoors  in  the  sedentary  habits  of 
statesman  and  courtier,  are  all  shown  with  unerring 
touch  in  the  lines  dug  out  of  the  copper  by  the 
genius  of  Nanteuil. 

Pierre  Simon,  a  pupil  of  Nanteuil,  followed  his 
style  with  considerable  success.  Many  of  his  por- 
traits are  taken  from  life,  and  some  of  them  are 
actually  life-size.  His  Louis  de  Bourbon^  life-size 
bust  in  oval,  is  well  known.  We  reproduce  his 
portrait  of  the  Prince  de  Condd.     (Opposite  p.  158). 


CARDINAL  RICHELIEU. 
From  a  Line  Engraving  by  Nanteuil. 


[To  face  page  156. 


o    *     .t    .«• 


LINE  ENGRAVING — FRENCH  SCHOOL  1$? 

Gerard  Edelinck  (1640- 1707)  came  to  Gobelins  at 
the  call  of  Colbert  and  contributed  to  swell  the 
reputation  of  the  golden  period  of  line  engraving. 
He  became  united  to  Nanteuil  with  a  close  friend- 
ship, although  his  character  seems  to  have  inclined 
to  seclusion  and  his  aspirations  to  have  been  those 
of  a  bourgeois.  After  vainly  competing  with  trades- 
men and  minor  officials  to  obtain  the  post  of  church- 
warden of  his  parish  he  solicited  the  king  to  procure 
him  this  parochial  office,  though  at  the  time  he 
held  the  title  of  Knight  of  St.  Michael  and  was 
designated  "  Premier  Dessinateur  du  Cabinet,"  and 
the  Academy  of  Painting  had,  moreover,  elected  him 
as  a  member  of  its  council.  But  his  mind  was  set 
on  the  churchwardenship. 

Nanteuil,  on  the  other  hand,  was  a  man  of  fashion. 
He  was  a  regular  attendant  at  the  salon  of  Mile,  de 
Scud^ry,  whose  rale  was  that  of  instructress  of  society. 
Her  volumes  of  "  Conversations  "  and  her  romances 
made  her  the  queen  of  a  little  court,  and  our  en- 
graver was  one  of  her  courtiers.  With  the  echoes 
that  one  catches  of  his  life  of  pleasure  apart  from 
Mile,  de  Scud^ry's  hothouse  of  philosophy,  the 
wonder  is  that  he  did  so  much  fine  work.  There 
is  little  doubt  that  he  squandered  his  health  and  his 
fortune  and  hastened  his  death  in  1678  at  the  age 
of  forty-eight  by  his  pursuit  of  pleasure,  leaving  his 
wife  penniless.  Edelinck,  on  the  contrary,  like 
Hogarth's  Industrious  Apprentice,  died  full  of 
honours  and  amassed  a  fortune,  which  he  left 
to  his  son  and  his  two  brothers. 

Those    who    are    wise    in    their   generation   will 


158  CHATS   ON  OLD  PRINTS 

procure  the  finest  engravings  by  Nanteuil  and 
Edelinck.  Of  the  latter,  who  worked  almost 
entirely  with  the  graver,  eschewing  all  aid  from 
etching,  there  are  many  fine  examples.  His  John 
Dry  den  may  be  had  for  25s.,  one  of  his  best  prints. 
Philip  de  Champagne  for  slightly  less,  Rene  Descartes 
for  a  sovereign,  Bossuety  "the  Eagle  of  Meaux,"  a 
splendid  portrait  after  Regnault,  for  15s.;  Heinrich 
Goltzius  the  engraver  for  12s.  These  are  ridiculous 
prices,  which,  be  it  said,  cannot  procure  the  same 
prints  in  France,  and  many  of  his  lesser  known 
portraits  may  be  bought  for  something  under  half 
a  sovereign.  Such  a  state  of  things  cannot  last 
much  longer.  At  a  time  not  very  far  distant  fine 
Dutch  delft  plates,  which  must  have  dated  back 
to  the  time  of  William  and  Mary,  were  hidden  away 
in  dusty  corners,  only  to  be  disturbed  by  the  wary 
collector  who  obtained  them  for  5s.  apiece.  But 
Dutch  dealers  have  altered  all  this;  they  have 
invaded  England,  and  delft  ware  during  the  last 
five  years  has  gone  up  ten  times  in  value.  The 
English  collector's  taste  is  surely  at  fault  some- 
where. 

Gerard  Audran  was  the  Marc  Antonio  of  Gobelins. 
He  was  a  superlatively,  masterly  interpretative  en- 
graver. He  set  himself  to  copy  Lebrun,  but  not 
before  he  had  steeped  himself  in  Italian  design.  He 
translated  Raphael  and  Domenichino  and  studied 
their  work  in  the  Vatican.  He  was  almost  more 
than  the  interpreter  of  Lebrun,  whose  series  of 
the  Battles  of  Alexander  occupied  the  engraver  six 
years.     He  almost  influenced  the  brush  of  Lebrun, 


THE   PRINCE   OF   CONDE. 
From  a  Line  Engraving  by  Pierre  Simon. 


[To  face  page  158. 


LINE  ENGRAVING — FRENCH  SCHOOL  1 59 

who  had  imposed  his  style  on  Gobelins,  and  his 
engraved  work  after  Lebrun's  canvases  departs 
in  no  minor  degree  from  that  master.  The  transla- 
tion corrects  the  faulty  design  of  the  original.  As 
an  engraver  of  historical  painting  Audran  has  few 
equals.  His  masterly  grasp  of  chiaroscuro  and  his 
broad  treatment  of  colour  raise  him  to  an  eminence 
even  among  the  great  seventeenth-century  French 
school.  He  employed  etching  very  largely  to  obtain 
his  effects,  and  differs  as  greatly  from  his  immediate 
predecessors  as  he  does  from  the  pretty  school  of 
finesse  and  encumbering  subtleties  which  succeeded 
him. 

His  prints  do  not  appeal  to  the  English  taste. 
The  Battles  of  Alexander  sells  at  £'^  or  fy  the  set  : 
this  is  his  masterpiece.  But  many  of  his  other 
prints,  such  as  Raphael's  Cartoons^  sell  for  only  5s. 
apiece.  The  Empire  of  Flora,  after  Poussin,  may 
be  bought  for  15s.  in  splendid  state.  His  portrait 
of  Pope  Clement  IX.,  a  fine  piece  of  work,  may 
easily  be  had  for  25s. 

Among  the  great  masters  of  this  period  Antoine 
Masson  (i 636-1 700)  comes  nearest  to  Nanteuil  and 
Edelinck.  He  was  a  portrait  painter,  and  his  work 
as  an  engraver  was  done  solely  with  the  burin.  In 
the  reproduction  of  his  masterly  portrait  of  Peter 
Dupuis  the  painter,  in  a  fur  cap,  which  is  here 
illustrated,  his  powerful  treatment  of  character  is 
shown.  This  portrait  may  be  bought  in  England 
for  30s.  It  exhibits  the  engraver's  grasp  of  the 
essential  qualities  of  his  art.  The  likeness  is  faith- 
ful to  the  life,  from  the  deep-cut  lines  on  the  face 


l60  CHATS   ON  OLD  PRINTS 

to  the  veins  on  the  hand,  from  the  texture  of  the  fur 
cap  to  the  glint  of  the  metal  chain,  there  is  indis- 
putable evidence  of  his  complete  command  over 
the  graver  in  its  wide  range  of  subject. 

But  Masson  must  not  be  dismissed  so  summarily. 
There  is  another  Peter  Dupuis^  an  antiquary,  three- 
quarter  length  in  an  oval,  which,  if  a  brilliant 
impression  before  the  insertion  of  the  name  of 
Dupuis  and  inscription,  sells  under  the  hammer  for 
fifteen  guineas.  His  Henri  de  Lorraine^  a  half-length 
portrait  in  its  first  state,  is  worth  ;£'20,  of  Marie  de 
Lorraine^  DUchesse  de  Guise^  there  are  five  states, 
varying  in  price,  the  fourth  being  procurable  for 
a  guinea.  Guillaunie  de  Brisaqier^  which  is  often 
described  as  the  "  Grey-headed  Man,"  if  in  first 
state  before  any  lettering,  is  worth  over  £2^^  but 
a  lettered  print  may  be  had  for   15  s. 

It  is  not  to  be  gainsaid  that  there  is  something 
in  this  striving  after  states  by  zealous  collectors, 
obviously  the  earlier  the  state  the  less  worn  the 
plate,  but  there  is  overmuch  talk  about  "  states  "  by 
persons  who  know  little  of  what  they  are  talking. 
The  rich  buying  public  is  divided  into  two  classes. 
Those  who  are  led  by  the  nose  by  dealers  who  are 
interested  in  procuring  rarities  at  ridiculous  prices, 
and  those  who  are  really  experts  and  thoroughly 
know  their  subject  and  are  able  to  detect  to  the 
minutest  detail  the  difference  between  one  state  and 
another  as  far  as  technical  variations.  The  broad 
principle  of  "states"  is  a  safe  foundation.  But  it 
can  be  carried  too  far.  A  man  who  has  given  up  his 
life  to   differentiating  between  one  condition  of  a 


T,r/.,f     <r,-r 


PORTRAIT   OF  PIERRE   DUPUIS, 


From  a  Line  Engraving  by  Masson,  after  Mignard. 

{Size  of  original  engraving  8|  in.  by  10/2^  in.) 

Sec  enlargement  of  the  right  eye  of  the  sitter — opposite  p.  42. 


[To  face  page  160. 


LINE  ENGRAVING — FRENCH  SCHOOL  l6l 

plate  and  another,  begins,  although  he  is  the  last  to 
admit  it,  to  lose  the  broader  grasp  of  his  subject. 
His  Jove  of  minutiae  seems  to  warp  his  finer  judg- 
ment. Pedant  is  a  rude  name  to  apply  to  him,  but 
his  fine  distinctions  elude  the  very  essence  of  the  art 
to  which  he  has  lovingly  devoted  himself.  There 
are  niceties  in  collecting  which  govern  prices  that 
cannot  be  upheld  by  any  cogent  reasoning.  Art 
cannot  be  governed  by  the  same  hard  and  fast 
axioms  which  control  the  world  of  fact.  Art  is  not 
science.  Its  masterpieces  hold  their  place  by  reason 
of  their  support  by  an  acknowledged  plebiscite  of 
trained  minds.  The  world  of  science  and  of  fact 
is  one  thing,  the  world  of  fashion  and  of  fashionable 
caprice  is  another — a  world  run  riot  into  extrava- 
gance led  by  unbalanced  or  interested  persons — the 
world  of  taste  is  yet  another.  If  a  man  of  otherwise 
well-balanced  mind  cannot  appreciate  Millet  or 
Corot,  Canaletto  or  Meryon,  Bewick  or  Whistler^ 
it  proves  nothing  other  than  that  he  is  not  possessed 
of  a  catholic  taste.  It  goes  without  saying  that  the 
man  who  can  appreciate  them  all  is  a  natural  artist, 
and  he  who  can  appreciate  each  at  his  true  worth  is 
a  natural  critic.  But  taste  is  not  given  to  all,  nor 
need  any  one  blush  because  he  cannot  see  beauties 
in  work  which  to  many  another  seems  unsurpassed 
in  excellence.  "  The  voice  of  the  people  is  the  voice 
of  God  "  cannot  be  applied  to  last  year's  Academy, 
but  it  can  and  does  apply  to  art  as  a  whole.  Some- 
how the  truth  has  filtered  through  the  ages,  and 
fashions  have  declined  and  slighted  masters  have 
come  into  their  own.     The  esoteric  judgment  of  that 

II 


1 62  CHATS   ON  OLD  PRINTS 

inner  circle  which  have  kept  the  sacred  flame  alight 
has  been  transmitted  to  posterity.  "  Truth  will 
prevail "  applies  with  fearful  significance  to  art. 

To  come  back  to  "  states."  The  novice  need  not 
be  faint-hearted  because  there  is  much  haggling  in 
the  market  place  over  these  matters  of  sordid 
monetary  value.  The  lover  of  prints  must  at  once 
and  for  ever  disassociate  himself  from  the  mere 
bargainer  and  huckster  of  graver's  work.  These 
are  the  moneychangers  who  have  polluted  the  outer 
courts  of  the  temple. 

The  difference  in  price  between  rare  states  and 
first  states,  and  the  slight  variations  and  engravers' 
afterthoughts  do  not  warrant  the  wide  difference 
existing  between  the  prices  obtaining  for  the  one 
and  the  other.  There  is  no  great  gulf  between  prints 
from  the  same  graver's  hand.  Second  thoughts  are 
not  always  best.  Many  of  the  world's  most  skilful 
artists  have  been  consumed  with  an  itch  for  altera- 
tion. Tennyson  was  always  adding  and  subtracting 
from  his  first  editions,  nor  are  his  subsequent  varia- 
tions always  an  improvement.  In  the  world  of  prints 
the  same  caprice  follows  the  engraver.  The  mere 
ordinary  mortal,  not  solicitous  of  following  every 
whim  of  the  engraver,  will  content  himself  with  a 
fine  print  of  his  favourite  master,  and  delight  himself 
in  its  possession,  and,  if  he  be  a  poor  man,  be 
thankful  for  what  he  has  secured.  It  is  another 
matter  with  copper-plates  that  have  fallen  among 
thieves  who  have  practised  all  kinds  of  diablerie  and 
palmed  them  off  as  the  work  of  the  original  engraver. 
Long  after  his  death  other  men  have  worked  over  his 


LINE   ENGRAVING — FRENCH   SCHOOL  1 63 

lines  that  have  been  worn  out  of  all  recognition  by 
the  many  copies  pulled  from  them.  Here  it  is  a 
matter  of  necessity  to  know  "  states,"  although  it 
is  an  insult  to  term  what  are  practically  impostures 
by  this  technical  designation. 

With  the  seventeenth  century  the  great  line  of 
masters  of  line  engraving  in  its  most  classic  form 
ended.  The  family  of  the  Drevets  must  be  excepted 
— Pierre  Drevet  (1663-1738),  Pierre  Imbert,  his  son 
(1697- 1 739),  and  Claude  Drevet,  his  nephew.  Drevet 
pere  was  a  pupil  of  Masson.  He  engraved  mainly 
portraits,  of  which  Louis  XIV,^  Louis  XV.  when  a 
boy  (in  fine  state,  worth  £2^  los.),  and  Cardinal 
Fleury  (worth  i8s.)  are  the  best  known.  His  son, 
Pierre  Imbert  Drevet,  claims  recognition  as  sur- 
passing his  father  by  his  famous  full-length  portrait 
of  Bossuet  after  Rigaud,  executed  in  1723.  His 
Adrienne  Lecouvreur  and  his  Cardinal  Dubois  carry 
on  the  traditions  of  Nanteuil.  The  hand  of  the 
graver  had  not  yet  lost  its  cunning  in  represent- 
ing textures — of  flesh,  of  hair,  of  lace,  and  of 
satin. 

As  an  instance  of  "  states  "  without  reason,  take 
this  Bossuet.  A  fine  impression  before  the  dots  after 
the  printer's  name  sells  for  £6  los.  The  same  before 
the  top  of  the  chair  was  finished,  and  with  the  mis- 
spelt word  "  Trecenses'^  instead  of  "  Tregensis"  £12. 
The  same  before  any  dots  after  the  printer's  name, 
£%  15s.  The  same  with  the  dots,  15s.,  or  again  cut 
close,  half  a  sovereign.  Here  is  an  instance  of 
differentiation  without  a  difference.  To  collect 
prints  in  such  fashion  is  to  reduce   the  subject  to 


1 64  CHATS   ON  OLD  PRINTS 

the  level  of  stamp  collecting,  where  the  misprint 
of  a  careless  official  means  pounds  added  to  the 
value,  where  dots  and  perforations  and  grains  more 
mucilage  at  the  back  are  added  wealth  to  the 
philatelist.     But  this  is  the  sport  of  princes. 


VIII 

LINE  ENGRAVING 
THE  EIGHTEENTH 
CENTURY 


CHAPTER  VIII 

LINE  ENGRAVING — THE  EIGHTEENTH  CENTURY 

The  rise  of  the  landscape  school — Engraving  merged  into 
illustration  of  books — Increased  activity  and  wider 
scope — The  growth  of  the  merely  picturesque — 
Decadence  of  line  engraving. 

To  make  a  broad  distinction  the  seventeenth  century- 
excelled  in  portraits,  in  which  art  the  French  school 
rose  to  the  grandest  heights  in  line  engraving,  and 
we  may  associate  the  eighteenth  century  with  land- 
scape and  figure  subject  in  line,  obviously  omitting 
the  golden  period  of  mezzotint  engraving  in  England 
in  the  eighteenth  century. 

In  France  the  painters  of  fetes  galantes  of  the 
school  of  Watteau  and  Pater  and  Nicolas  De  Troy, 
of  Lancret  and  Boucher,  had  their  interpretive  en- 
gravers, of  whom  Laurent  Cars  and  Cochin,  Tardieu 
and  Le  Bas  are  representative.  But  in  the  days  of 
Louis  XV.  a  craze  seized  the  fashionable  world  to 
employ  the  graver  as  a  pastime.  Courtiers  and 
noblemen,  fine  ladies,  including   the  Queen  herself, 

added  engraving  to  their  other  follies.     The  result 

167 


1 68  CHATS  ON  OLD  PRINTS 

was  not  happy  for  art.  It  throws  a  lurid  light  on 
French  art  to  find  Madame  de  Pompadour  engraving 
a  plate,  The  Genius  of  the  Arts  Protecting  France^  the 
proofs  of  which  were  eagerly  contended  for  by  the 
debased  court  around  her.  If  an  abb^  could  not  be 
appointed  to  a  fat  living,  he  received  a  proof  impres- 
sion instead.  It  reads  like  Gil  Bias,  who  had 
sedulously  cultivated  the  goodwill  of  the  Licentiate 
Sedille,  only  to  find  himself  rewarded  at  his  death 
with  the  legacy  of  his  musty  library. 

Claude  Gel^e  (1600-1682)  and  Nicholas  Poussin 
( 1 594-1665),  classic  masters  of  landscape,  found 
engravers  to  resuscitate  them,  and  Joseph  Vernet 
(17 14-1789)  had  his  band  of  contemporary  inter- 
preters in  black  and  white. 

Eighteenth-century  French  art  smilingly  stands  on 
the  crater  of  a  volcano.  There  is  nothing  to  suggest 
the  Days  of  Terror.  Watteau,  who  dominates  all  his 
successors  although  he  lived  only  a  quarter  of  the 
century  through,  lingers  in  sunny  unrealities.  His 
figures  woven  in  a  luscious  green  tapestry,  stand  in  a 
world  apart.  Otium  cum  dignitate  and  leisured  idle- 
ness hang  somnolently  over  all  his  figures.  They 
dance  in  a  dream  in  misty  sylvan  glades,  silently 
toying  with  life,  with  moss-grown  faun  and  satyr 
beckoning  them  with  finger  of  stone.  There  is  the 
same  stilly  dreaminess  of  romance  in  the  late  Henry 
Harland's  fancies  in  his  Rosemary  for  Remembrance 
or  his  Merely  Players^  or  in  the  unsubstantial  dreams 
of  Mr.  Charles  Conder  delicately  pencilled  on  a  fan- 
mount —  mortals  who  dance  with  noiseless  feet, 
musicians  who  play  in  silent  drowsiness. 


LINE  ENGRAVING — EIGHTEENTH  CENTURY      1 69 

Chardin,  the  great  genre-painter  of  the  eighteenth 
century,  who  depicted  the  middle-class  interiors  of 
French  life,  is  as  homely  as  the  Dutch  school 
with  the  added  refinement  of  his  race.  Le  Bas 
and  Surugue  and  a  crowd  of  other  engravers 
popularised  his  work.  He  was  as  a  painter  what 
G.  J.  Pinwell  was  as  a  draughtsman,  his  picturesque 
interiors  of  ordinary  life  have  a  charm  not  easily 
equalled. 

Moreau  the  younger  held  the  mirror  to  fashion- 
able society.  Engravers  scattered  prints  from  his 
pictures  broadcast,  and  probably  contributed  some- 
thing to  sowing  the  seeds  for  the  coming  Revolution. 
His  record  of  fashionable  licence  leaves  a  nasty  taste 
in  the  mouth.  La  Sortie  de  Uop^ra^  Le  Souper  fin, 
and  the  rest  have  all  the  loathsomeness  of  Hogarth's 
depiction  of  vice  except  that  they  are  varnished  over 
with  an  elegance  which  is  vitiating. 

Among  the  most  masterly  engravers  of  the 
eighteenth  century  in  his  fine  interpretative  work 
of  the  Dutch  school  of  a  century  earlier,  is  Johann 
Georg  Wille  (171 5-1808),  a  German,  who  practised 
mainly  in  France.  In  the  days  of  the  Revolution  he 
lost  his  fortune  and  became  blind,  after  producing 
masterpieces  for  fifty  years  and  training  a  school  of 
engravers.  Vienna,  Berlin,  Dresden,  Augsburg,  Paris, 
Rouen,  were  proud  to  elect  him  as  member  of  their 
academies.  He  was  engraver  to  the  Emperor  of 
Germany  and  to  the  Kings  of  France  and  of 
Denmark.  His  name  and  fame  are  not  of  common 
report  in  England.  The  average  man  prefers  Land- 
seer  and  Cruickshank,  if  he  is  not  a  collector  whose 


I/O  CHATS   ON   OLD  PRINTS 

love  of  third-rate  mezzotints  and  tenth-rate  colour 
prints  blinds  him  to  all  the  Continent  has  ever  done. 
Wille,  in  addition  to  many  fine  portraits  including 
the  Old  and  the  Young  Pretenders,  Frederick  11.^  and 
Maurice  de  Saxe,  engraved  with  peculiar  fidelity  the 
satin  and  silken  draperies  and  tapestries  after  Gerard 
Dow,  Mieris,  Terburg,  and  other  Dutch  genre-painters. 
He  is  especially  good  in  the  Death  of  Cleopatra  after 
Netscher. 

Johann  Gotthard  von  Mliller  (i  747-1 830),  a  pupil 
of  Wille,  carried  on  the  traditions  in  Germany,  as 
Charles  Bervic  (i 756-1 822),  another  pupil,  sustained 
the  reputation  of  his  master's  training  in  France.  In 
Italy  Raphael  Morghen  (1758-1833)  devoted  his  life 
to  translating  into  line  the  old  Italian  masters,  and 
his  work  is  justly  celebrated  throughout  Europe. 
Guiseppe  Longhi  (i 766-1 831),  painter  and  engraver, 
influenced  by  Raphael  Morghen,  whom  he  met  at 
Rome,  continued  on  the  same  lines.  He  engraved 
a  fine  plate.  Lady  Burghersh  and  Child,  after  Sir 
Thomas  Lawrence.  Pietro  Anderloni  (i  784-1 849), 
his  pupil,  brings  the  Italian  line  school  up  to 
modern  days.  The  Head  of  Leonardo  da  Vinci,  in  an 
oval,  by  him  may  be  had  for  5s.  His  Adoration  of 
the  Shepherds  after  Titian,  a  fine  proof,  is  worth  £2, 
Longhi's  Vierge  au  Rochers  after  Leonardo  da  Vinci, 
a  proof  before  letters,  sells  for  ten  guineas.  His 
Napoleon  /.,  in  circular  frame  (18 12),  proof,  may  be 
bought  for  1 5s. ;  another  portrait  of  Napoleon  at 
Arcole,  proof  state  before  letters,  sells  for  £2  los. 
Von  Mliller's  finest  print  is  his  La  Madonna  della 
Seggiola  after  Raphael,  a  proof  by  Raphael  Morghen 


*       « 


LINE  ENGRAVING — EIGHTEENTH   CENTURY      I7I 

of  the  same  subject  sells  for  ;£'5,  and  there  is  little  to 
chose  between  the  two  interpretations,  though  Von 
Miiller's  may  be  had  for  half  that  sum.  The  prices 
of  Wille  are  fairly  high,  but  in  comparison  with  the 
prices  paid  for  proofs  by  Raphael  Morghen,  they  are 
ridiculously  cheap.  His  Death  of  Cleopatra  may 
sometimes  be  had  for  £^  in  this  country.  La 
Tricoteiise  after  Mieris,  unless  a  specially  fine  proof, 
may  be  found  for  15  s.  or  a  sovereign.  U Instruction 
Paternelle  after  Terburg,  in  proof  state  before  all 
letters,  has  sold  for  ;£"20,  but  less  than  a  quarter  of 
that  sum  may  buy  it  as  a  bargain,  and  a  very  fair 
print  of  it  can  be  secured  for  less  than  a  sovereign. 

The  eighteenth  century  in  England  was  crowded 
with  activity  from  the  days  of  Anne  and  Marl- 
borough's victories  down  to  Nelson's  time  and  the 
Nile.  The  South  Sea  Bubble,  Jacobite  conspiracies 
rife  in  high  places,  a  bishop  has  to  be  banished,  war 
with  France  and  Spain,  rebellion  in  Scotland  and  an 
invading  army  with  the  Pretender  at  their  head 
advancing  to  Derby,  the  Indian  Empire  founded, 
Canada  wrested  from  the  French,  the  American 
Colonies  declare  their  independence,  war  with 
Holland,  and  Cape  Colony  and  the  Dutch  Indies 
added  to  our  possessions — this  is  catalogue  enough 
of  stirring  events  in  ten  decades  to  stifle  all  the 
peaceful  arts,  but  in  literature  there  were  as  great 
giants  as  in  the  world  of  action.  The  age  of  Pope 
and  Johnson  and  Goldsmith,  and  Addison  and  Swift, 
Defoe,  and  Sheridan  and  Fielding,  was  the  age  of 
Sir  Joshua  Reynolds,  Gainsborough,  Romney, 
Hogarth,    Richard    Wilson,    and    the    caricaturists 


172  CHATS   ON  OLD  PRINTS 

Rowlandson  and  Gillray,  and  the  great  crowd  of 
versatile  engravers  who,  in  mezzotint,  in  stipple,  and 
in  line,  perpetuated  the  memory  of  the  eighteenth 
century.  It  should  be  borne  in  mind  that  at  this 
time  the  English  mezzotinters  were  establishing  the 
traditions  of  their  art  and  winning  a  permanent  place 
in  European  fame.  They  more  properly  confined 
their  skill  to  the  rendering  of  contemporary  portraits 
in  masterly  manner.  On  the  other  hand,  Bartolozzi, 
Angelica  Kaufmann,  Cipriani,  and  the  pretty  school 
devoted  themselves  to  the  finesse  of  stipple  and  of 
colour  prints.  Line  engraving,  the  most  classic  art 
among  engraving,  continued  its  interpretation  of  the 
old  masters  and  its  rendering  of  contemporary 
landscape  and  figure  subjects.  We  reproduce  an 
engraving  from  George  Morland,  The  Bell,  by  James 
Fittler,  (facing  p.  170),  one  of  a  set  of  six  which 
are  procurable  for  £2  los.  the  set.  But  the  great 
school  of  eighteenth-century  portrait  painters,  upon 
whom  English  eighteenth-century  art  stands,  were 
translated  into  mezzotint. 

The  mantle  of  Dryden  had  descended  on  Pope, 
with  his  six  volumes  of  the  "  Iliad  "  and  five  volumes 
of  the  "  Odyssey " ;  Dr.  Johnson  had  imposed  his 
ponderous  classicisms  on  the  town,  Addison's  and 
Steele's  Essays  in  the  Spectator  and  in  the  Tatler 
were  prefixed  by  Greek  and  Latin  tags,  great  soldiers 
and  sailors  and  statesmen  were  carried  to  the  Abbey 
and  the  monuments  erected  over  their  remains 
showed  them  as  Romans  in  classic  attire,  Josiah 
Wedgwood  translated  classic  designs  into  Stafford- 
shire   pottery    for    everyday    use.      The    spirit    of 


O         M 

u 


LINE  ENGRAVING — EIGHTEENTH  CENTURY      1/3 

classicism  was  in  the  air,  and  we  heartily  thank 
Benjamin  West,  the  American  Quaker,  for  painting 
for  the  first  time  in  his  Death  of  General  Wolfe^ 
British  soldiers  in  modern  uniforms.  It  is  not  then 
to  be  wondered  that  most  of  the  line  engravings 
betray  this  keynote.  In  the  illustration  we  reproduce 
of  The  Embarkment  after  De  Loutherbourg,  engraved 
by  Victor  M.  Picot,  a  French  engraver  whom  Ryland 
recruited  to  join  Boydell's  school  of  interpreters  ;  this 
taste  is  fully  exhibited.  The  ruined  temple  never 
left  art  till  after  Wilson's  day ;  it  is  as  pronounced  as 
the  grim  figure  of  Death,  the  Jester,  in  sixteenth- 
century  masters,  the  white  horse  of  Wouvermans,  or 
the  brown  tree  of  the  landscape  school  prior  to 
Constable. 

William  Hogarth  (1697- 1764)  stands  in  the  fore- 
front of  the  eighteenth  century  as  a  painter  in  depict- 
ing its  manners  and  satirising  its  vices.  Himself  a 
line  engraver  of  no  ordinary  power,  he  has  left  some 
fine  prints  as  a  record  of  his  skill  with  the  graver. 
Morning  and  Noon^  from  the  series.  The  Four  Times 
of  the  Day ;  the  set  of  four,  first  states,  is  worth 
£2  5s.  Strolling  Actresses  Dressing  in  a  Barn  is 
another  of  his  line  engravings :  it  may  be  bought  in 
fair  condition  for  less  than  half  a  sovereign.  His 
portraits  of  fohn  Wilkes  and  Simony  Lord  Lovaty  are 
both  etchings.  It  was  not  long  before  Hogarth 
called  in  a  group  of  French  engravers  to  work  on  his 
plates.  At  first,  as  in  Chairing  the  Members^  he 
assisted  himself  with  F.  Aviline,  and  in  The  Roast 
Beef  of  Old  England  with  Charles  Mosley ;  but  the 
March  of  the  Guards  towards  Scotland^  174S,  known 


174  CHATS   ON  OLD  PRINTS 

as  the  March  to  Finchley^  was  engraved  alone  by 
Luke  Sullivan.  Louis  Gerard  Scotin  engraved 
Plate  I.,  The  Contract ;  Louis  Barron,  Plate  II.,  The 
Breakfast  Scene ;  Frangois  Simon  Ravenet  executed 
Plate  IV.,  The  Toilet  Scene,  and  Plate  V.,  Death  of 
the  Early  all  from  the  same  series  of  prints,  The 
Mariage  d-la-Mode.  We  reproduce  a  portion  of 
his  large  print,  Southwark  Fair,  engraved  by 
Hogarth,  and  published  in  1733  after  a  painting  by 
himself. 

A  satirist  of  manners  lives  for  success  in  his  own 
day,  and  Hogarth  achieved  it  to  the  full.  His  prints 
became  so  popular  that  copies  of  them  were  sold  as 
his.  His  set  of  the  Harlots  Progress  was  issued  by 
one  Kirkall  before  Hogarth  could  get  out  his  own 
engravings.  And  he  had  the  discomfiture  of  having 
Masquerades  and  Operas  returned  on  his  hands  as 
unsold,  while  a  pirated  edition  was  selling  at  half- 
price  in  the  shops.  In  1735  he  "applied  to  Parlia- 
ment for  redress,"  and  obtained  an  Act  (8  Geo.  II. 
Cap.  13)  which  vested  an  exclusive  right  in  designers, 
and  restrained  the  multiplying  of  their  works  without 
the  consent  of  the  artist. 

Hogarth  was  a  typical  Londoner,  and  he  knew 
every  inch  of  the  square  half-mile  with  Temple  Bar 
as  its  centre,  from  the  day  when  he  begged  his  father, 
the  Grub  Street  writer  and  proof-corrector,  of  Ship 
Court,  Old  Bailey,  to  apprentice  him  to  "  Mr.  Ellis 
Gamble,  silver-plate  engraver,  at  the  sign  of  the 
Golden  Angel,  Cranbourne  Street  or  Alley,  Leicester 
Fields."  From  engraving  silver  tankards  and  salvers 
with  heraldic  devices  he  came  to  engrave  on  copper. 


1    • 

•e 

e>4o« 

««•«> 

«•! 

V 

4>l« 

• 

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«<>•# 

s«a 

1**>  * 

« •> ' 

•«♦ 

* 

LINE  ENGRAVING — EIGHTEENTH  CENTURY      1^5 

Leaving  Ellis  Gamble's  shop — his  engraved  shop- 
card  is  treasured  by  collectors — he  soon  came  to 
engrave  arms  and  bills  for  shopkeepers  and  plates 
for  booksellers.  His  illustrations  to  "  Hudibras  "  first 
made  him  generally  known.  After  that  success  was 
assured. 

A  queer  London  this  London  of  Hogarth,  bounded 
on  one  side  by  the  country  seats  of  city  men  at 
Islington,  at  Hackney,  at  Stepney,  and  at  Bow,  and 
studded  with  villas  of  the  fashionable  world  at 
"  Marybone  "  and  at  "  Chelsey."  When  duels  were 
fought  "in  the  fields  behind  the  British  Museum," 
and  when  the  nearest  windmill  was  at  the  bottom  of 
Rathbone  Place.  When  heads  of  malefactors  grew 
shrivelled  and  sooty  on  the  spikes  at  Temple  Bar, 
when  Westminster  was  another  city,  when  the 
Thames  swarmed  with  watermen  to  ferry  passengers 
across  the  river,  and  when  Fleet  Street  had  more 
chairmen  than  there  are  hansom  cabs  to-day.  When 
Southwark  had  its  Fair,  and  when  lotteries  were  in 
full  swing.  To  take  a  walk  down  Fleet  Street  in 
those  days  with  Dr.  Johnson  was  to  be  in  touch 
with  all  the  forces  of  English  life.  For  even  much 
more  than  Paris  used  to  spell  France,  so  London  in 
eighteenth-century  days  governed  all  else. 

One  need  not  be  a  Croesus  to  collect  Hogarth  and 
his  engravers.  In  1892  the  celebrated  collection  of 
Dr.  Joly,  of  Dublin,  was  sold  by  auction  in  London. 
There  were  no  fewer  than  six  thousand  prints, 
comprising  nearly  all  that  was  engraved  by  Hogarth 
or  after  him  with  every  variation.  These  brought 
;^500,  the  price  of  a  single  mezzotint.     Of  such  are 


176  CHATS   ON  OLD  PRINTS 

the  vagaries  of  collecting.  Since  then  prices  of 
Hogarth  have  dropped  even  lower  still. 

The  truth  is  that  Hogarth  requires  a  great  deal 
of  study  to  collect  him  properly,  and  slip-shod 
collectors  are  rather  shy  of  being  "  taken  in  "  with 
a  contemporary  copy.  Owing  to  his  great  popularity, 
the  great  number  of  prints  struck  off  his  own  plates 
told  on  their  quality.  In  later  days  these  plates 
were  retouched,  so  that  impressions  from  them  are 
practically  worthless. 

While  Hogarth  was  engraving  his  March  to 
Finchley^  another  eminent  engraver,  Robert  Strange 
(1721-1792),  a  Scotsman  born  in  the  Orkneys,  was 
present  at  the  battle  of  Prestonpans  as  one  of  the 
bodyguard  of  the  Stuart  Pretender,  Charles  Edward. 
He  was  appointed  engraver  to  that  prince,  and,  in 
spite  of  all  Presbyterian  scruples,  worked  against 
time  on  Sunday,  engraving  his  copper  plate,  from 
which  bank-notes  were  to  be  struck.  This  plate  was 
lost  in  the  flight  after  Culloden,  but  was  found  in 
1835,  and  is  now  in  the  possession  of  the  Macpherson 
family  of  Cluny  Castle.  Strange  executed  a  plate, 
Prince  Charles  Edward,  "  Engraved  by  command," 
1745)  which  is  very  rare.  After  studying  at  Paris 
under  Le  Bas,  he  visited  Italy.  On  appearing  in 
London,  his  fame  had  preceded  him,  and  his  pro- 
nounced Jacobite  views  were  pardoned,  as  we  find 
permission  granted  to  him,  through  the  influence  of 
Sir  Benjamin  West,  to  copy  Vandyck's  portraits  of 
the  Stuarts  in  the  royal  collections.  From  these  he 
made  some  of  his  finest  plates.  His  full-length  portrait 
of  Charles  1.  in  his  robes,  a  magnificent  piece  of  work, 


LINE  ENGRAVING — EIGHTEENTH  CENTURY      1 77 

done  in  1770,  may  be  bought  in  fine  condition  for  a 
little  over  £2.  His  Charles  I.  {Standing  by  his  Horse\ 
with  the  Duke  of  Hamilton,  done  in  1780,  is  a  rich 
and  bold  interpretation  of  Vandyck;  this  will  cost  the 
collector  about  the  same  as  the  above,  and  in  good 
state  for  that  sum.  The  Three  Heads  of  Charles  is 
another  splendid  example  of  his  graver,  as  well  as  a 
fine  portrait  of  Henrietta  Maria^  and  his  superb 
St.  Cecilia  after  Raphael  has  no  equal  in  the  school 
of  English  engraving. 

Strange  did  a  very  graceful  act ;  he  had  refused  to 
engrave  the  portrait  of  George  HI.,  but  he  relaxed 
so  far  as  to  produce  in  line  a  plate  after  West's 
picture,  the  Apotheosis  of  the  Royal  Children.  This 
caused  him  to  be  summoned  to  St.  James's,  where  he 
was  knighted  by  the  king.  In  passing,  it  is  of 
interest  to  mention  that,  by  reason  of  the  rivalry 
of  Bartolozzi  with  Strange,  the  former  seceded  with 
a  band  of  his  followers  from  the  Incorporated 
Society  of  Artists,  and  with  the  king's  patronage 
founded  the  Royal  Academy,  from  which  Strange 
was  excluded.  Sir  Benjamin  West,  his  friend  the 
American  Quaker  and  the  first  President,  never 
succeeded  in  persuading  the  Academicians  to  elect 
Strange,  as  in  order  to  fit  his  case  a  rule  had  been 
made  not  to  admit  engravers. 

John  Boydell,  engraver  (1719-1804),  may  be  said 
to  have  been  the  first  fine  art  publisher  in  England. 
He  devoted  considerable  energy  to  fostering  the  art 
of  line  engraving  and  founding  a  great  school.  He 
encouraged  interpretative  engravers  after  the  old 
masters.     An  alderman  of  the  City  of  London,  and 

12 


178  ,         CHATS   ON  OLD  PRINTS 

Lord  Mayor  in  1 791,  he  founded  a  firm  that  is  still 
in  existence,  and  carried  on  under  the  title  of 
Messrs.  Henry  Graves  &  Co.  He  employed  on 
his  sumptuous  publications  over  two  hundred  and 
sixty  engravers.  In  his  well-known  "  Shakespeare 
Gallery "  he  spent  ;^  100,000  on  painters  and 
engravers. 

Besides  the  leading  English  engravers,  he  attracted 
many  men  from  the  Continent.  Baron,  Canot, 
Aliamet,  Benoist,  Picot,  and  many  others  came 
from  abroad.  Johann  Sebastian  Miiller — sometimes 
his  name  is  printed  Miller — came  from  Nuremburg 
in  1744.  He  did  some  fine  plates  for  Boydell,  in- 
cluding Joseph's  Dream  after  Murillo,  A  Moonlight 
Scene^  after  Vanderneer  and  Donna  Isabella  after 
Rubens,  and  many  others.  We  reproduce  an  illus- 
tration of  a  fine  engraving  from  a  series  of  Views 
in  Florence,  done  at  Nuremburg  just  prior  to  his 
coming  to  England.     (Facing  p.  178.) 

Francesco  Bartolozzi  (1727-18 15)  is  better  known 
for  his  stipple  work,  which  is  treated  in  a  later 
chapter.  He  leaned  always  to  prettiness  and 
insipidity,  and  is  just  the  opposite  to  the  broad 
school  of  Strange.  His  line  engraving.  La  Madonna 
del  Sacco — the  Holy  Family — after  Andrea  del 
Sarto,  and  the  Repulse  of  Cupid  after  Annibale 
Carraci,  are  his  best  works  in  line. 

William  Woollett  (173S-1785)  executed  some 
magnificent  engravings  after  Claude  Lorraine. 
The  Enchanted  Castle  (done  in  conjunction  with 
Vivares)  sells  in  proof  state  for  £2.  Landscape 
with  Sacrifice  to  Apollo   is   worth   twice   that   sum. 


I 


I  4r       «  •<«  • 


LINE  ENGRAVING — EIGHTEENTH  CENTURY      1 79 

Cicero  at  his  Villa  after  Wilson  may  be  bought 
in  fine  state  for  £i. 

William  Sharp,  who  associated  himself  with  that 
notorious  impostor,  Richard  Brothers,  who  founded  a 
peculiar  sect  of  which  he  was  the  "  Prince,"  produced 
some  fine  plates.  His  John  Kemble,  with  elbow  on 
table,  in  fine  state,  is  worth  £2  2s.  George  Washingtotiy 
proof  before  letters,  sells  for  slightly  more.  He  also 
did  portraits  of  Brothers  and  of  Joanna  Southcott^ 
a  similar  religious  impostor. 

John  Keyse  Sherwin  (1751-1790)  was  an  excellent 
engraver,  and  his  prints  in  fine  state  bring  rather 
high  prices.  The  Fortune  Teller  after  Reynolds,  if 
fine,  sells  for  £j  ;  his  Mrs.  Abingdon  after  Reynolds, 
if  open-letter  proof,  is  worth  over  £\2\  but  some  of 
his  lesser  known  prints,  in  good  condition,  may 
easily  be  procured  for  5s.  or  a  little  more. 

There  is  no  end  to  the  eighteenth  century  as  a 
quarry  for  the  poor  collector.  He  wisely  leaves 
mezzotints,  and  colour  prints,  and  stipple  engravings 
to  the  world  of  fashion.  Mr.  Throgmorton  Ghouley 
buys  his  mezzotint  at  a  record  price,  which  is  duly 
recorded  in  the  halfpenny  press,  and  Mr.  Plantagenet 
Gorgon  makes  a  corner  in  colour  prints.  Sumptuous 
art  magazines  live  on  eighteenth-century  illustrations, 
and  enterprising  amateurs  bring  out  costly  volumes 
filled  with  splendid  illustrations  surrounded  with  less 
illuminating  letterpress,  but  there  is  still  a  margin  of 
thousands  of  prints  left  for  the  discriminating  collector 
who  has  to  make  his  tale  of  bricks,  as  did  the 
Israelites  when  in  Egypt,  without  straw. 

There  are  crowds  of  prints  finely  executed  in  line 


l80  CHATS   ON  OLD  PRINTS 

which  may  be  bought  for  pence.  The  auction-room 
turns  its  back  on  line  engravings  unless  they  happen 
to  be  by  well-known  men.  Names  are  everything 
under  the  hammer.  In  out-of-the-way  printsellers' 
shops  in  London  and  in  the  provinces  there  is  untold 
wealth  lying  for  the  lover  of  prints — wealth  of 
engraving.  But  golden  strokes  of  dead  gravers'  hands, 
are  invisible  to  all  who  have  not  the  understanding 
eye.  These  monuments  of  fine  engraving,  faith- 
ful translations,  splendid  triumphs  over  the  technique 
of  pushing  the  burin  over  the  polished  copper  and 
ensnaring  the  feeling  of  the  painter  in  the  swirling 
lines  and  cross  hatchings,  lie  in  as  proud  seclusion  as 
sleeping  princesses  awaiting  the  magic  touch  of  the 
sagacious  prince.  Generations  of  engravers  have 
come  and  gone.  Their  plates,  worked  with  deft 
and  patient  skill,  have  sucked  up  the  ink  and  left 
the  flimsy  record  of  their  lives.  Their  names  are 
lightly  bitten  on  the  roll  of  engravers,  but  to  him 
who  lingers  lovingly  over  printsellers'  portfolios  to 
whom  known  names  with  fine  marketable  values  are 
as  in  a  world  apart,  there  is  a  golden  mine,  magical 
and  alluring  as  the  cave  down  which  Aladdin 
descended,  where  he  gathered  pearls  and  diamonds, 
rubies  and  amethysts,  sapphires  and  emeralds  from 
the  magic  garden. 

Who  knows  James  Peak  or  James  Mason,  with 
their  wonderful  interpretations  of  Claude  Lorraine's 
landscapes?  William  Walker  (i 729-1 793)  we  know 
from  his  Burns,  by  Nasmyth,  and  his  Sir  Walter 
Scott,  but  there  are  scores  of  his  illustrations  in  the 
magazines  of  the  period  teeming  with  fine  copper- 
plate illustrations. 


PORTRAIT  OF  LAURENXE  STERNE. 


From  a  Line  Engraving.     Eighteentli  century  illustrated  magazine. 
(Size  of  original  3|  in.  by  6|  in.) 

[To  face  f>age  180. 


••    *  •  J  •  •    « 


LINE  ENGRAVING — EIGHTEENTH  CENTURY      l8l 

If  1 860-1 870  was  the  golden  period  for  facsimile 
wood  engraving,  1 730-1 820  was  equally  rich  in  y 
illustrated  magazines  and  in  volumes  appearing 
at  that  time  with  copper-plate  engravings.  Their 
name  is  legion.  The  Gentleman's  Magazine^  the 
European^  the  London^  Town  and  Country^  the 
Universal^  the  Westminster^  and  the  Oxford  are 
among  the  most  prominent.  Extra  illustrators  have 
stripped  these  old  magazines  of  their  portraits. 
Cosway's  portraits  of  Madame  Du  Barri  or  Mrs. 
Robinson  in  the  European  fetch  as  much  as  ^i  or 
30s.  apiece.  The  Wifs  Magazine  contains  several 
illustrations  by  William  Blake.  The  little  known 
or  the  unknown  work  of  well-known  men  appeared 
in  these  old  magazines.  The  Portrait  of  Sterne  we 
reproduce  is  a  fair  example  of  the  style  of  this 
period.  Gillray  and  Rowlandson,  Bartolozzi  and 
Stothard  contributed  designs,  and  the  series  of 
portraits  in  the  London  and  the  European  extended 
over  a  wide  area,  and  included  Francesco  de  Quevedo^ 
of  Spain,  whose  romances  have  found  so  able  an 
illustrator  in  modern  days  in  Vierge,  and  Lavater^ 
of  France,  engraved  by  Bromley,  as  well  as  famous 
contemporaries  whose  portraits  are  fine  biographic 
records. 

Novels  were  illustrated  in  able  manner.     Richard-      )^ 
son's  "  Clarissa "  and  "  Sir  Charles  Grandison  "  had 
their  series  of  copper  plates. 

The  Town  and  Country^  scandalous  as  it  was,  had 
a  fine  series  of  portraits  in  oval  frames  like  miniatures 
of  persons  under  thinly  disguised  titles,  such  as 
Miss    Gr — n^    E — /    of  R — d^    The    amiable    Miss 


1 82  CHATS   ON   OLD  PRINTS 

D—5—t,  Lord  C ,  Col,    W ,  Mrs,  P—t,  The 

Polar  Nauticus,  together  with  accompanying  letter- 
press which,  in  discussing  the  amours  of  these 
individuals,  left  little  doubt  as  to  their  identity. 
Whatever  may  have  been  the  frailties  of  the  sitters, 
these  portraits,  two  on  a  page,  are  fine  specimens  of 
line  engraving,  and  worthy  of  the  attention  of  the 
collector. 

We  reproduce  a  line  engraving  which  illustrated 
the  forgotten  romance  of  the  "  Invisible  Spy." 
Smirke's  spirited  drawing  is  translated  into  line  on 
copper  by  Neagle.  This  class  of  engraving  is 
typical  of  them  all,  and,  dated  1788,  is  the  fore- 
runner of  the  steel  engravings,  of  a  period  subsequent 
to  1820,  being  the  connecting  link  between  the 
eighteenth  century  and  modern  days,  when  en- 
graving on  steel  became  so  popular,  and  when  the 
volume  with  plates  became  a  necessity  in  the  world 
of  books. 

The  following  is  a  list  of  the  typical  eighteenth- 
century  books  which  may  be  had  for  a  few  shillings 
containing  engravings,  to  which  the  collector  may 
turn  his  attention  with  profit.  A  full  and  complete 
list  will  be  found  in  Lewine's  "Bibliography  of 
Eighteenth  Century  Art  Books."  The  books  enu- 
merated below  are  apart  from  sumptuous  volumes  of 
great  value  in  which  the  period  is  particularly  rich. 

Sterne.  Works  and  Life  by  himself,  1780-83,   10  vols., 

plates  after  Hogarth.    Worth  25s.  to  30s, 

Gay's  Fables.  2  vols.,  1793,  70  plates  by  Blake  and  others,  ist 
edition,  25s.  ;  2nd  edition,  12s. 

Wit's  Maga-  1784-85, 2  vols.,  folding  plates  by  Blake  and  others. 
ziNE.  20s.  to  30S. 


12  3  *      *  ' 


"THE    INVISIBLE    SPY." 
(Eighteenth  century  illustrated  book,  1788.) 

From  a  Line  Engraving  by  Reagle,  after  Sm'.rke. 
(Size  of  original  a,\  in.  by  7J  in.) 

\To  face  fage  182. 


i 


LINE  ENGRAVING — EIGHTEENTH  CENTURY      1 83 


Mary  Woll- 

stonecraft, 
R.  Blair. 

Fenelon. 


Moliere, 


Magazines. 

Richardson. 

Corneille. 
Butler. 
Don  Quixote. 

Hogarth. 
Le  Sage. 


Original  Stories  from  Real  Life,  1791,  6  plates 

engraved  by  Blake.     12s. 
The  Grave,  12  plates  by  Schiavonetti  after  Blake. 

15s.  to  20S. 
Les  Aventures  de  Telemaque,  Paris,  1781,  6  plates 

by  De  Launay,  Prevost,  Saint  Aubin,  and 

Simonet.     los. 
(Many  editions  containing   beautiful  plates,  5s. 

upwards,  and  some  rare  editions.) 
Many  editions,  some  of  great  value,  e.g.,  1734 

edition,  6  vols.,  33  plates  after  Boucher  by 

Laurent  Cars.     Worth  £8  to  ;^io. 
Many  pretty  editions,  e.g.,  (Eiwres,  Paris,  1760, 

8  vols.,  33  plates  by  Legrand  after  Boucher. 

Copper  Plate  Magazine,  5  vols.,  1792,  numerous 

plates,  views,  &c.    Worth  £^. 
European  Magazine,  Gentleman's  Magazine,  &c. 
Town    and    Country,    1769-93,    25    vols.,    many 

plates  and  portraits.    ;^5. 
Pamela,  1742,  4  vols.,  46  plates   engraved    by 

Gravelot.     los. 
Clarissa  Harlowe  (in  French),  1751-52,  21  plates 

by  Beauvais,  Tardieu,  Pasquier,  &c.     los. 
Theatre  de  Pierre  Corneille  (Geneve),  1764,  2  vols., 

34  plates  by  Gravelot  and  others.   Worth  20s. 
Hadibras,  plates  by  Hogarth,   12   1726  edition 

17  (small)  1726  edition. 
Hogarth's  plates,  8  in  Jarvis's  edition,  1738. 
Translated  by  Smollett,   London,  1755,  2  vols., 

4to,  28  plates  by  Hayman.    35s. 
(La  Haye)   1746,  splendid   series   of    plates    by 

Picart,    Lebas,    Schley,    &c.     los.    ordinary 

prints  to  ;^5  in  proof  state. 
Hogarth  Illustrated,   by  John  Ireland,   1791-98, 

3  vols.,  133  plates.    35s. 
Original  and  genuine  works,  J.   Boydell,  1790, 

103  plates.    £9. 
Gil  Bias  (Paris),  1796,  4  vols.,  28  plates  after 

Mounet,  by  Bovinet,   Duparc,  Lingee,    &c. 

15s. 
Gil  Bias  (Berlin),  1798,  6  vols.,  14  plates  designed 
and  engraved  by  Chadowiecki.     15s. 


1 84 


CHATS   ON   OLD  PRINTS 


Walpole.  Anecdotes  of  Painting  in  England.    Account  of 

principal  engravers,  by  Geo.  Vertue,  1762 
to  1771,  5  vols.,  109  plates  and  portraits  en- 
graved by  Chambers,  Grignon,  Walker,  &c. 
50S. 

La  Fontaine.  Contes  et  Notivelles.  A  very  special  study.  Many 
editions  of  great  rarity  and  value.  But  many 
editions  of  slighter  value  contain  fine  plates, 
e.g.,  Amsterdam  edition,  1743,  2  vols.,  69 
vignettes  after  Cochin  by  Ravenet,  Chedel, 

&C.      I2S. 

OzANNE,  l'aine.   Livve  de  Patsages  et  de  Marines,  4  parts,  folio, 

6  plates  each.    los. 
Ozanne  (Yvres-  Nouvelles  Vties  perspectives  des  Ports  de  France. 
Marie).  1776,  70  plates  by  Y.  Le  Gouz.    20s. 

Another  edition  v^ith  80  plates.     25s. 
(This  is  the  chief  work  of  Ozanne,  the  marine 
artist.) 
Ozanne,  l'aine.  Marines  Militaires,  with  50  engravings  of  pic- 
turesque French  war  vessels.    12s. 
(These  Ozanne  vols,  are  worth  collecting,  and 
may  be  met  with  from  5s.  to  los.  per  vol., 
crowded  with  fine  plates.) 
Almanach  de  Gotha,  1764-1800.     Usually  12  plates  in  each  annual, 

1776  and  1786  worth  £2,  others  12s.  each  vol. 
Almanach  Le  Tableau  de  Paris  Etrennes  aux  heaiites  Parisienncs, 
ijfp,  i6mo,  12  coloured  plates.    30s. 


There  are  series  of  Almanacs  published  in  France 
during  the  latter  half  of  eighteenth  century,  usually 
small  in  size,  but  containing  very  fine  engraved  work. 
Some  of  them  are  very  rare,  but  many  can  still  be 
bought  for  a  few  shillings. 


IX 

STIPPLE 
ENGRAVING 


CHAPTER  IX 

STIPPLE  ENGRAVING 

Its  technique — The  practice  of  stipple  in  early  days — An 
adjunct  to  line  engraving — The  great  eighteenth- 
century  masters  of  stipple  engraving — Its  introduc- 
tion into  England  by  Ryland — Bartolozzi  and  his 
school — William  Blake — Qualities  of  stipple — Its 
neglect  by  collectors. 

In  stipple  engraving  a  copper  plate  is  covered  with 
a  series  of  dots  arranged  in  an  elaborate  manner  to 
convey  the  subject  to  be  engraved.  Under  a  magni- 
fying glass  stipple  work  exhibits  rows  of  dots  so 
skilfully  dug  into  the  copper  that  they  convey  the 
truthful  lineaments  of  a  portrait,  the  soft  flesh  of 
a  figure  subject,  or  the  character  and  texture  of  a 
costume.  It  is  not  employed  for  landscape.  These 
dots  are  usually  marked  with  an  etching  needle 
through  a  ground,  and  bitten  with  acid,  as  is  ex- 
plained in  the  chapter  on  etching.  They  are  after- 
wards strengthened  and  deepened  with  the  use  of 
La  graver.  This  tool  has  its  point  bent  downwards  for 
pecking   into   the   metal ;  the  graver  used   for  line 

[engraving  has  its  point  curved  upwards. 

187 


1 88  CHATS   ON   OLD  PRINTS 

Pure  stipple  consists  of  dots  and  nothing  but  dots, 
but  its  use  has  been  largely  employed  by  the  line 
engraver  to  represent  flesh.  In  many  line  engravings 
of  portraits  this  use  of  stipple  has  been  frequently 
employed,  and  as  a  kind  of  compromise  the  engraver 
often  used  lines  in  conjunction  with  dots. 

In  imitation  of  chalk  drawings  a  class  of  stipple 
engravings  known  as  chalk  or  crayon  engravings 
were  in  vogue  for  a  short  period  till  lithography 
afforded  an  easier  means  of  producing  the  same 
result.  In  this  chalk  engraving  which  is  a  coarse 
form  of  stipple,  the  dots  imitate  the  technique  of 
a  chalk  drawing.  This  class  of  stipple  engraving 
was  done  by  means  of  soft  ground  etching  in  com- 
bination with  the  use  of  roulettes  of  varying  sizes. 

A  reference  to  the  enlargements  of  two  portions  of 
stipple  engravings  (opposite  p.  46),  will  show  the 
marvellous  ingenuity  of  stipple  work.  An  enlarge- 
ment of  a  half-tone  process  print  exhibits  a  series  of 
dots  produced  by  the  interposition  of  a  glass  screen 
with  fine  lines  between  the  camera  and  the  object 
photographed,  as  will  readily  be  seen  by  placing  the 
illustrations  of  this  volume  under  a  powerful  magni- 
fying glass,  and  it  would  almost  appear  that  the 
stipple  engraver  by  the  artistic  arrangements  of  his 
dots  had  forestalled  the  process  engraver  and  the 
later  inventions  of  science  as  applied  to  illustration. 

In  the  accompanying  engraving  reproduced  in 
exact  size  of  the  original,  it  will  be  seen  how  chalk 
engraving  in  stipple  differs  in  its  coarse  qualities  as 
representing  the  grain  of  the  original  from  stipple 
engraving  employed  in  all  its  delicacy  and  refinement. 


I 


HEAD    OF   A    BOY. 

From  a  Chalk  Engravirg. 
{Same  size  as  original.) 


[Jo  /ace  page  i8S. 


STIPPLE  ENGRAVING  1 89 

This  crayon  engraving  was  first  practised  in  France 
in  the  latter  half  of  the  eighteenth  century  by 
Demarteau,  who  fashioned  his  practice  on  the  crude 
experiments  of  Jean  Charles  Francois  nearly  half  a 
century  earlier.  It  is  admirably  adapted  for  render- 
ing in  facsimile  the  chalk  drawings  of  the  old  masters, 
and  in  France  the  crayon  drawings  of  Boucher  and 
Fragonard  and  Watteau  were  duplicated  and  widely 
published. 

Stipple  engraving,  which  in  eighteenth-century  days 
became  the  familiar  method  of  engraving  of  the 
school  of  Bartolozzi,  was  no  new  art.  Its  use  was 
recognised  by  the  early  masters,  by  Durer  and  by 
Lucas  van  Leyden.  In  sixteenth-  and  seventeenth- 
century  days  stipple  work  was  sparingly  used  in 
portraits  by  line  engravers.  But  it  is  in  England  in 
the  latter  half  of  the  eighteenth  century  that  the  art 
of  stipple  was  practised  as  a  separate  branch  of 
engraving  and  brought  to  a  point  of  excellence  that 
has  never  been  equalled  before  or  since. 

A  fashion  became  very  prevalent  to  use  either  a  red 
or  a  warm-brown  ink  instead  of  black.  Colour  print- 
ing was  being  practised  at  the  same  time,  and  this 
practice  had  more  of  fashion  about  it  than  artistic 
necessity,  and  much  of  the  work  would  be  better  had 
it  been  printed  in  black. 

It  was  William  Wynne  Ryland  (1732-1783),  a 
pupil  of  Boucher,  who  introduced  into  England  the 
style  of  engraving  which  imitated  red  chalk  drawings. 
Many  of  these  are  after  the  insipidities  of  Angelica 
Kaufmann,  such  as  Cupid  Punished  by  the  Graces^ 
which    sells  in    proof   state   for  five    guineas.    The 


1 90  CHATS   ON  OLD  PRINTS 

Triumph  of  Venus^  the  Judgment  of  Paris^  which 
sell  for  a  pound  more  apiece,  all  printed  in  red,  and 
many  others  of  classical  subject  and  sentiment.  The 
ordinary  man  cannot  lay  out  his  capital  on  Ryland 
now  that  fashion  has  made  his  prices  so  prohibitive, 
unless  he  contents  himself  with  portrait  subjects, 
lesser  known,  in  line,  such  as  George  III,  after 
Ramsay  or  Queen  Caroline  after  Cotes,  either  of 
which  may  be  picked  up  for  5s.  Ryland  was 
engraver  to  George  III.  and  had  a  salary  of 
;f200  a  year.  Unfortunately  at  the  zenith  of  his 
fame  he  embarked  in  business  speculations.  His 
partnership  in  a  print  shop  in  Cornhill  ended  in 
bankruptcy.  Later  he  had  a  print  business  of  his 
own  in  the  Strand.  At  the  time  of  his  downfall  he 
does  not  appear  to  have  been  a  poor  man.  It  is 
stated  that  he  was  possessed  of  stock  worth  ;£"  10,000, 
and  his  income  from  engraving  must  have  been  con- 
siderable. In  1783  he  uttered  a  forged  bill  and 
presented  it  at  the  bank  and  it  was  duly  honoured. 
The  sum  is  stated  to  have  been  several  thousand 
pounds.  When  the  true  bill  was  presented  the  fraud 
was  discovered,  and  a  reward  of  ;£"500  was  offered  for 
his  apprehension.  Ryland  fled  eastwards  from  his 
villa  at  Knightsbridge,  and  after  lodging  in  the 
Minories  he  buried  himself  in  Stepney.  The  town 
was  placarded  with  bills  offering  the  reward,  and 
there  was  as  much  sensation  over  his  capture  as  there 
was  over  that  of  Lefroy  the  murderer,  a  hundred 
years  later,  who  secreted  himself  in  the  same  neigh- 
bourhood. Ryland  was  betrayed  by  a  cobbler  to 
whom  his  wife,   who   shared  his  poverty,  had  sent 


STIPPLE  ENGRAVING  IQI 

a  pair  of  boots  to  be  repaired,  in  which  the  name 
Ryland  was  written  inside.  The  cobbler  claimed  the 
reward,  and  the  officers  arrived  to  find  Ryland 
attempting  suicide  with  a  razor. 

Whatman  of  Maidstone,  the  great  paper-maker, 
gave  a  damning  piece  of  evidence  against  Ryland 
when  he  proved  that  the  bill  was  forged  on  paper 
actually  made  by  him  after  the  date  on  the  bill. 
Ryland  was  found  guilty  and  sentenced  to  death. 
Forgery  was  a  capital  offence  a  hundred  years  ago. 
He  was  hanged  at  Tyburn,  the  last  execution  carried 
out  at  this  infamous  place.  "  Without  a  knowledge  of 
the  Newgate  Calendar  it  is  impossible  to  be  acquainted 
with  the  history  of  England  in  the  eighteenth  cen- 
tury," and  to  those  readers  who  wish  to  delve  deeper 
into  the  subject  there  is  a  reference  in  the  Bibliography 
accompanying  this  volume  which  may  help  them. 

This  style  of  stipple  engraving  which  was  seized  by 
the  eighteenth-century  English  public  with  avidity 
and  did  so  much  to  kill  the  fine  school  of  line 
engravers  of  which  Strange  and  Woollett  were  at  the 
head,  was  known  as  "  the  red  chalk  manner."  There 
is  much  to  commend  its  softness  in  rendering  the 
delicacies  of  flesh,  but  in  rendering  virile  work  it 
softened  down  the  energy  into  mere  prettiness.  It  is 
a  very  narrow  school,  this  eighteenth-century  school 
of  stipple.  In  its  representation,  in  dots,  of  red  chalk 
or  stumped  drawings,  its  practitioners  lose  sight  of 
the  broader  outlook  of  engraving.  But  fashion  has 
decreed  that  stipple  work  be  hall-marked,  and  print- 
sellers  carry  on  the  same  traditions  as  their  fore- 
runners   in    awarding   disproportionate  praise,   and 


192  CHATS   ON   OLD   PRINTS 

consequently  in  obtaining  unwarrantable  prices,  for 
stipple  engraving,  which  at  its  best  has  limitations 
hardly  recognised  by  its  chief  exponents. 

Bartolozzi  used  it  with  masterly  skill  and  has  left 
a  name  with  regard  to  prices  that  leaves  a  feeling  of 
awe  in  the  fashionable  auction-room.  At  one  time 
Bartolozzi  was  unprocurable  by  a  poor  man.  It  was 
thought  to  be  the  thing  to  hang  his  prints  with 
Chippendale  and  with  Sheraton  furniture.  The  word 
went  round  and  half  the  fashionable  world  were 
striving  to  be  up  to  date  in  taste.  It  is  reducing 
print  collecting  to  an  absurdity  when  many  prints 
after  Morland  and  Wheatley  and  Westall  have 
brought  under  the  hammer  a  great  deal  more  than 
the  original  drawings  or  paintings  would  sell  for  if 
offered  to  the  same  sapient  crowd  of  amateurs.  Now- 
adays many  wiser  collectors  have  "unloaded,"  and 
the  engravings  of  Bartolozzi  have  in  later  days  come 
down  somewhat  in  price,  but  they  have  not  yet 
touched  bottom,  and  we  do  not  advise  any  one  to 
touch  them.  The  Birth  of  Shakespeare  after  Angelica 
Kaufmann,  printed  in  red,  a  feeble  and  displeasing 
allegory,  brings  the  ridiculous  price  of  £12,  and  this 
when  an  Ostade  etching,  or  a  fine  Nanteuil  line  en- 
graving may  be  procured  for  a  sovereign,  or  dozens  of 
fine  French  etchings  at  half  a  sovereign  each,  or 
scores  of  line  engravings  after  Turner  at  a  shilling 
or  so  apiece !  It  is  a  fact  that  through  Bartolozzi's 
twelve  hundred  subjects  there  is  much  that  is  flimsy 
and  much  that  is  worthless,  and  there  is  the  added 
drawback  that  his  plates  have  been  preserved  and 
have  been  printed  from  long  after  his  death,  to  the 


MRS.  WILBKAHAM. 

From  a  Stipple  Engraving  by  Thomas  Watson,  after  Gardner. 

[To  face  page  192. 


k 


, «  «    4 


STIPPLE  ENGRAVING  1 93 

confusion  of  collectors  and   to  the  enrichment  of 
the  unscrupulous  owners  of  the  plates. 

Wheatley's  Cries  of  London  in  stipple,  printed  in 
brown  or  printed  in  colours,  command  high  prices. 
Every  mushroom  dealer's  shop  can  produce  its  set  to 
command.  Forgeries  are  as  thick  as  blackberries. 
It  is  not  to  be  gainsaid  that  the  originals  in 
stipple  by  Schiavonetti  or  Vendramini  or  Cardon  are 
pretty  when  they  are  genuine.  But  is  Hot  Spiced 
Gingerbread^  by  Vendramini,  worth  £\0y  or  Sweet 
China  Oranges^  by  Schiavonetti,  worth  ;^8?  It  is 
against  all  the  laws  of  common  sense  and  propor- 
tion in  art  to  knew  that  Wheatley's  Cries^  a  set  of 
thirteen  prints  in  colour,  have  fetched  as  much  as 
;^i,ooo.  Surely  all  the  fools  in  London  must  have 
been  bidding  against  each  other! 

But  it  must  be  granted  that  in  a  certain  manner 
some  of  these  stipple  engravings  do  manage  to 
convey  the  sensuous  elegance  of  the  eighteenth  cen- 
tury. Vauxhall  and  Ranelagh  Gardens  and  the 
playful  insouciance  of  the  lighter  side  of  life,  and 
the  picturesque  tastes  of  the  town  are  reflected  in 
these  prints.  While  Hogarth  teaches  us  the  sterner 
lessons  these  depict  the  lighter  moods,  so  that  pos- 
terity obtains  thereby  its  light  and  shade  of  a 
complex  period. 

We  reproduce  an  illustration  of  Mrs,  Wilbraham 
from  a  painting  by  Gardner,  engraved  in  stipple  by 
Thomas  Watson,  and  printed  in  brown,  which  is  a 
fine  example  of  delicate  engraving,  exhibiting  all  the 
best  qualities  of  stipple  without  loss  of  strength  in 
the  delineation  of  character.     (Opposite  p.  192). 

13 


194  CHATS   ON  OLD  PRINTS 

There  is  one  feature  in  stipple  which  in  Bartolozzi 
claims  a  welcome  recognition,  and  that  is  the  sprightly 
manner  in  which  he  has  engraved  a  great  many 
fine  plates  of  Children  at  Play  after  Hamilton,  and 
others.  They  are  not  Cupids  nor  classical  children 
in  impossible  groves,  mounted  on  clouds,  or  in  other 
fantastic  attitudes,  but  are  simple  eighteenth-century 
children,  natural  and  human,  clothed  in  everyday 
dress,  the  forerunners  of  the  groups  of  romantic 
children  with  which  Kate  Greenaway  delighted  the 
middle  nineteenth  century. 

Among  stipple  engravers  of  the  eighteenth  century 
the  names  of  P.  W.  Tomkins,  Thomas  Cheesman,  John 
Jones,  and  Charles  Wilkin  stand  in  the  first  rank. 

William  Blake,  poet,  visionary,  engraver,  is  at  once 
remarkable  for  the  position  he  occupies  in  the  world 
of  literature  and  of  art.  He  was  apprenticed  at  the 
age  of  fourteen  to  Basire,  the  engraver,  of  Lincoln's 
Inn  Fields.  He  loved  art  for  its  own  sake.  "  Were 
I  to  love  money,"  he  says,  "  I  should  lose  all  power 
of  thought ;  desire  of  gain  deadens  the  genius  of 
man.  I  might  roll  in  wealth  and  ride  in  a  golden 
chariot,  were  I  to  listen  to  the  voice  of  parsimony. 
My  business  is  not  to  gather  gold,  but  to  make 
glorious  shapes,  expressing  god-like  sentiments." 
His  wife,  "  the  dark-eyed  Kate  "  of  his  lyrical  poems, 
took  off  in  the  press  the  impressions  of  his  plates, 
coloured  them  with  a  delicate  hand,  and  even  made 
drawings  of  her  own  to  rival  the  mysterious  fancies 
that  came  from  her  husband's  pencil.  But  she  did 
not  see  the  visions  Blake  did,  who,  as  a  child,  saw  an 
angel  following  the  reapers  in  the  corn. 


i 


STIPPLE  ENGRAVING  195 

In  1789  his  Songs  of  Innocence  appeared,  poems  on 
the  happiness  of  childhood,  each  having  its  accom- 
panying scene  interwoven  with  the  song.  In  1794 
this  was  followed  by  Songs  of  Experience.  It  was 
about  this  time  in  a  vision  his  brother  Robert  com- 
municated to  him  the  secret  of  a  new  process  of 
engraving  on  copper.  Blake  ever  kept  the  secret, 
and  no  one  has  produced  anything  to  equal  in  deli- 
cacy and  elegance  the  little  prints  which  he  issued, 
some  four  inches  high  by  three  inches  wide.  The 
unfortunate  poverty  of  Blake  confined  him  to  copper 
plates  of  small  dimensions,  and  his  works  are  limited 
to  the  cabinet  and  the  portfolio  of  the  collector. 

Blake  illustrated  Young's  "Night  Thoughts,"  to 
the  delight  of  Flaxman,  but  some  of  the  designs 
alarmed  the  fastidious  readers  of  the  good  doctor,  who 
were  somewhat  startled  to  find  trembling  nudities  in 
the  margin  of  that  pious  work.  Flaxman  introduced 
Blake  to  Hay  ley,  the  poet,  and  we  reproduce  a 
medallion  portrait  which  Blake  lovingly  engraved 
in  stipple  of  the  young  poet.     (Opposite  p.  196). 

Blake's  cottage  at  Felpham,  near  Bognor,  gave  him 
three  of  the  happiest  years  of  his  life.  By  the  sea- 
shore he  dreamed  dreams  and  conjured  up  visions 
the  like  of  which  no  man  has  yet  committed  to  paper. 
His  allegorical  pictures  of  The  Spiritual  Form  of  Pitt 
guiding  Behemoth  and  the  Spiritual  Form  of  Nelson 
guiding  Leviathan  are  compositions  of  extraordinary 
power  and  weirdly  compelling  interest.  The  former 
is  in  the  National  Gallery. 

He  conceived  a  hundred  illustrations  to  Dante's 
Divina  Commedia.    This  was  during  1 824-1 826,  when 


196  CHATS   ON  OLD  PRINTS 

at  sixty-seven  years  of  age  he  applied  himself  to 
learning  Italian.  He  only  engraved  seven  out  of  the 
hundred  drawings.  He  was  peculiarly  fitted  to  inter- 
pret and  illustrate  the  great  mediaeval  master  of 
supernatural  awe  and  terror.  These  seven  india- 
proof  plates,  11  in.  by  14  in.,  are  rare,  and  cost  the 
lover  of  Blake  no  less  than  twenty-five  guineas  to-day. 

His  Inventions  to  the  Book  of  Job  are  equally  sought 
after,  and  were  produced  in  his  later  years  when 
poverty  began  to  overtake  him.  Still  sustained  by 
his  loving  wife,  he  worked  in  one  small  room  which 
served  as  kitchen,  bedchamber,  and  studio.  In  this 
room,  in  a  court  near  the  Temple,  the  great  visionary 
took  his  farewell  of  this  world.  Bolstered  up  in  bed, 
he  employed  his  last  energies  on  touching  and  re- 
touching one  of  his  last  prints.  Throwing  it  from 
him  at  last,  he  exclaimed,  "  There  !  that  will  do  !  I 
cannot  mend  it!"  Seeing  his  wife  in  tears,  he  said, 
"  Stay,  Kate !  Keep  just  as  you  are.  I  will  draw 
your  portrait,  for  you  have  ever  been  an  angel  to 
me."  And  the  dying  painter  made  a  fine  likeness. 
He  lay  chanting  verses  and  music,  and  seemed  happy 
to  the  last.     He  died  on  August  12,  1827. 

In  the  reproduction  of  Cleopatra  the  delicacy  of 
stipple  is  employed  to  fine  advantage.  It  was  en- 
graved by  E.  Harding,  Junior,  in  1794.  It  is  a  com- 
posite portrait,  the  face  being  from  an  antique  gem 
and  the  head-dress  from  a  coin  in  Dr.  Hunter's 
Museum.  This  is,  without,  doubt,  as  authentic  a 
portrait  of  the  great  queen  Cleopatra  as  it  is  possible 
to  get,  and  in  the  soft  delicacy  of  the  delineation 
there  is  nothing  more  to  be  desired.     It  is  in  work  of 


THOMAS    HAYLEY. 

From  a  Stipple  Engraving  by  William  Blake,  after 
Medallion  by  Flaxman. 

(Size  of  original  engraving  2J  in.  diameter.) 


CLEOPATRA. 

From  a  Stipple  Engraving  by  E.  Harding. 
ilhe  face  from  an  ancient  gem,  the  head-dress  from  a  coin.) 

iTo  face  page  193. 


STIPPLE  ENGRAVING  197 

this  nature  that  stipple  stands  unrivalled ;  even  with 
all  the  possibilities  of  modern  photography  such  a 
portrait  could  not  be  produced  that  would  convey  as 
faithfully  the  lineaments  of  the  wondrous  queen  who 
enslaved  Marc  Antony, — "for  her  own  person,"  to 
quote  Shakespeare,  "  it  beggared  all  description." 

But  to  the  collector  who  is  desirous  of  obtaining 
specimens  of  good  work  there  are  fields  afar  from  the 
much  sought-after  examples  in  the  auction-room. 
The  books  of  the  late  eighteenth  and  early  nine- 
teenth centuries  were  embellished  with  stipple 
engravings  by  men  whose  work  is  not  to  be  de- 
spised. Besides  the  names  of  those  we  have  already 
mentioned  there  are  many  others  who  executed  plates 
in  stipple.  They  are  to  be  found  in  hundreds  of  little 
volumes  as  frontispieces  and  as  plates,  and  in  execu- 
tion and  brilliancy  they  do  not  fall  very  far  short  of 
the  more  ambitious  plates  of  the  greater  men. 

The  three  illustrations  we  reproduce  are  types  of 
this  class,  which  represent  pence  rather  than  shillings 
to  the  collector.  They  will  never  take  their  place  in 
the  market  as  rare  prints — they  are  not  showy  enough 
to  attract  the  "mob  of  gentlemen"  who  frequent 
Christie's  and  elsewhere  metaphorically  to  cut  each 
other's  throats  to  obtain  possession  of  them.  The 
quiet  collector  may  delve  at  his  will  in  out-of-the- 
way  places  and  disinter  them  by  the  hundred  from 
forgotten  volumes.  The  portrait  oi  Dry  deity  executed 
by  Caroline  Watson — whose  work  is,  in  spite  of  the 
size,  masterly  and  possessed  of  great  vigour — was 
published  in  1808.  Caroline  Watson's  stipple  en- 
gravings are  sought  after  by  collectors.     She  was  the 


1 98  CHATS   ON  OLD  PRINTS 

daughter  of  James  Watson,  who  was  born  in  Ireland 
in  1740,  and  died  in  London  in  1790 — one  of  the 
most  eminent  mezzotint  engravers  of  the  British 
school,  not  to  be  confounded  with  Thomas  Watson 
(1743-1775),  another  eminent  mezzotinter.  She 
engraved  both  in  mezzotint  and  in  stipple.  Her 
portrait  in  stipple  of  The  Hon.  Mrs.  Stanhope  after 
Reynolds,  not  in  first  state,  brings  over  £^^  and  a 
colour  print  of  the  same  sells  for  £\^.  The  portrait 
of  the  Princess  of  Wales  was  engraved  by  W.  Ridley 
in  1797,  after  a  drawing  by  W.  H.  Brown.  The  third 
illustration.  The  Sisters — Mrs.  Stourbridge  and  Mrs. 
Wilmot-Bromley — is  typical  of  the  wealth  of  fine 
work  in  stipple  to  be  found  in  the  "  Keepsake  "  and 
other  gift  books  of  early  Victorian  days.  Many  of 
these  portraits  were  after  Sir  Thomas  Lawrence, 
Beechey,  and  others ;  they  are  all  executed  with 
great  delicacy,  there  is  a  certain  insipidity  and  an 
over-exaggerated  softness  about  them  which  is  in 
striking  contrast  to  the  copper-plate  portraits  in  line 
in  magazines  of  some  eighty  years  before.  This  loss 
of  the  rugged  personality  of  the  originals  is  notice- 
able in  the  comparison  of  seventeenth-century  line 
engravings  after  contemporary  portraits  with  engrav- 
ings of  the  same  subjects  done  on  steel  after  1820. 
But  after  all,  one  does  not  expect  strength  from 
stipple,  and  these  delicately  limned  portraits  are  in 
metal  what  Cosway  and  Plimmer's  work  is  in  the 
world  of  miniaturists.  They  suggest  in  their  senti- 
mental refinement  the  Amelia  Sedleys  of  the  begin- 
ning of  last  century. 

The  early  days  of  stipple  carry  one  back  to  the 


PORTRAIT   OF   DRYDEN. 
From  a  Stipple  Engraving  by  Caroline  Watson. 


^^// 


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THE 

SISTERS. 

-om  an  unsigned  Stipple  Engraving. 

PRINCESS  OF   WALES. 

From  a  Stipple  Engraving  by  W,  Ridley. 

For  enlargements  of  portions  of  these  see  illnstrations  opposite  p.  46. 

[To  face  page  198. 


STIPPLE  ENGRAVING  199 

days  of  the  beaux  at  the  Pump  Room  at  Bath  or 
down  the  Pantiles  at  Tunbridge  Wells.  The  Batter- 
sea  enamel  snuff-box  tapped  in  graceful  minuet-like 
movement,  the  swinging  gold-headed  and  jewelled 
cane,  the  painted  fan,  are  the  fripperies  which  bear 
accompaniment  to  the  slender  gracefulness  of  a 
fashionable  art.  Later,  when  stipple  became  more 
popular,  and  threw  its  gauze-like  mantle  over  the 
fashionable  album  of  the  boudoir,  we  hear  the  tinkle 
of  the  old  tunes  of  Thomas  Haynes  Bayly,  "  I'd  be  a 
butterfly  born  in  a  bower,"  which  our  great-great- 
aunts  sang  in  that  far-off  time — days  of  lavender 
perfume,  of  maidenly  reserve,  of  quaint,  queer  senti- 
ment— the  generation  who  wept  over  Dickens. 

The  following  list  of  notable  stipple  engravings  will 
enable  the  student  to  refer  to  the  finest  examples  of 
this  style  of  engraving,  and  to  recognise  them  when 
he  comes  across  them  : — 

Louisa  (Sheridan's  "  Duenna "),  stipple  in  red,  by  Richard  Read 

after  J.  Russell  (1778). 
Calais^  The  Snuff -Box,  Sterne's  "  Sentimental  Journey,"  by  J.  M. 

Delattre,  stipple  in  red,  after  Angelica  Kaufmann  {1781). 
Lady  Elizabeth  Lambart,  by  John  K.  Baldrey,  after  J.  Downman 

(1783). 

Mrs.  Jordan  as  "The  Romp,"  by  John  Ogbourne,  after  Romney 
(1788). 

Portrait  of  Kemble,  by  James  Heath,  after  G.  Chinnery  (1799). 

Lady  Hamilton  as  "  Sensibility,"  by  Richard  Earlom,  after  Romney 
(1789). 

Lord  Heathfield,  by  Richard  Earlom,  after  Sir  Joshua  Reynolds 
(1788). 

Honourable  Anne  Bingham,  by  Bartolozzi,  after  Sir  Joshua  Rey- 
nolds, in  red. 

Lady  Elizabeth  Foster,  by  Bartolozzi,  after  Sir  Joshua  Reynolds 
(1787). 

Lady  Smyth  and  Children,  by  Bartolozzi,  after  Sir  Joshua  Reynolds. 


200  CHATS   ON  OLD  PRINTS 

Elizabeth  Farren,  by  Bartolozzi,  after  Sir  Thomas  Lawrence  (1791). 

Summery  by  Bartolozzi,  after  Wheatley. 

Venus  attired  by  the  Graces^  by  Bartolozzi,  after  Angelica  Kaufmann, 

in  red. 
Duchess  of  Richmond,  by  W.  W.  Ryland,  after  Angelica  Kaufmann, 

in  red  (1775). 
Cupid  Bound,  by  W,  W.  Ryland,  after  Angelica  Kaufmann,  in  red 

(1777). 
Lady  Helen  Boyle,  by  Thomas  Trotter,  after  Cos  way. 
Mrs.  Fifzherbert,  wife  of  George  IV.,  by  Joseph  Collyer,  after 

Russell  (1792). 
Venus,  after  Sir  Joshua  Reynolds  (1786).    Compare  with  Abraham 

Raimbach's  line  engraving  of  the  same  subject. 
Lady  Hamilton  as  "  The  Sempstress,"  by  Thos.  Cheesman,  after 

Romney  (1787). 
Lady  Hamilton  as  "The  Spinster,"  by  Thomas  Cheesman,  after 

Romney  (1789). 
Mrs.  Siddons  as  "  The  Tragic  Muse,"  by  Francis  Haward,  after 

Sir  Joshua  Reynolds  (1787). 
Angelica  Kaufmann  in  the  character  of  "Design,"  by  Thos.  Burke 

after  Angelica  Kaufmann  (1787). 
Lady  Hamilton  as  "  Emma,"  by  John  Jones,  after  Romney  (1785). 
Elizabeth  Farren  as  "  Lady  Teazle,"  after  Downman  (1787). 
Lady  Hamilton  as  "  St.  Cecilia,"  by  George  Keating,  after  Romney 

(1789). 
Joseph  Baretii,  by  J,  Hardy,  after  Sir  Joshua  Reynolds  (1794). 
Mrs.  Robinson  as  "  Perdita,"  by  William  Dickinson,  after  Sir  Joshua 

Reynolds. 
Five  Cherubs'  Heads  (Miss  Gordon),  by  Peter  Simon,  after  Sir 

Joshua  Reynolds  (1789). 
Esther  Jane  Sheridan,  by  Thomas  Nugent,  after  Hoppner  (1800). 
Captain  Coram,  by  William  Nutter,  after  Hogarth  (1796). 
Girl  Gathering  Nuts,  by  Peltro  William  Tomkins,  after  W.  R.  Bigg 

(1787). 
Mrs.  Robinson,  by  J.  Pettit,  after  Cosway  (1789). 
Viscountess  Andover,  by  Charles  Wilkin,  after  Hoppner. 
Mrs.  Swinburne,  by  Mariano  Bovi,  after  Cosway. 
Izaak  Walton,  by  Mariano  Bovi,  after  Housman  (1794). 
Princess  Sophia  and  Princess  Mary,  daughters  of  George  HI.,  by 

Caroline  Watson,  after  Hoppner. 
Hon.  Mrs.  Stanhope  as  "  Contemplation,"  by  Caroline  Watson,  after 

Sir  Joshua  Reynolds. 


STIPPLE  ENGRAVING  20I 

Pantaloon,  by  William  Bromley,  after  Stothard  (1799). 

Mrs.  Darner,  by  L.  Schiavonetti,  after  Cosway. 

Portrait  of  Nelson,  by  Henry  Meyer,  after  Hoppner. 

Sir  Walter  Scott,  by  William  Walker,  after  Raeburn. 

Raeburn,  by  William  Walker,  after  Raeburn. 

Lord  Hopetoun,  by  William  Walker,  after  Raeburn. 

Lady  Manners  and  Mrs.  Fitzherbert,  by  John  Conde,  both  after 

Cosway. 
Lady  Agar  Ellis,  by  Charles  Heath,  after  Sir  Thomas  Lawrence. 
Richard  Cosway,  by  William  Daniell,  after  G.  Dance. 
yohu  Opie,  by  William  Holl. 
William  Makepeace  Thackeray,  by  Francis  Holl,  after  S.  Laurence 

(1853)- 


STEEL 

ENGRAVING 
NINETEENTH 
CENTURY 


CHAPTER  X 

STEEL  ENGRAVING—NINETEENTH  CENTURY 

The  first  use  of  steel  in  1820 — The  commercial  value  of 
steel  in  yielding  more  impressions — Its  effect  on  the 
style  of  engravers — The  age  of  minuteness  and 
over-elaboration — The  invention  of  steel-facing — 
The  return  to  copper. 

Line  engraving  in  the  nineteenth  century  entered 

upon   its   last   phase.     The  employment  of  various 

mechanical   devices   such   as   the  use  of  the  ruling 

machine  to  produce  the  clear  blue  sky  and  the  flat 

tints,  together  with  a  fixed  code  of  rules  governing 

the  technique  in  its  rendering  of  flesh,  of  water,  of 

fabrics,  and  of  metal,  and  intricate  axioms  relating 

to  lozenge  work,  helped  to  bring  it  into  disrepute. 

Plates  were  no  longer  engraved  by  one  but  by  several 

men,  and  this  imperceptibly  led  to  its  deterioration 

as  departing  from  the  personality  so  necessary  to  any 

work  of  art.     Sir  Seymour  Haden  no  doubt  had  this 

in   mind   when   he   described    line   engraving   as   a 

manufacture  rather  than  an  art. 

205 


206  CHATS   ON   OLD  PRINTS 

The  age  of  steel  had  a  corresponding  effect  on  the 
mezzotint  engraver,  and  after  the  introduction  by 
Thomas  Lupton  of  soft  steel  instead  of  copper  as  the 
.medium  for  mezzotint  work,  for  which  he  received,  in 
1822,  the  Isis  gold  medal  from  the  Society  of  Arts, 
the  age  of  decadence  set  in.  It  was  the  thin  end  of 
the  wedge  of  commercialism,  which  never  has  and 
never  will  become  wedded  with  art.  Art  for  Art's 
sake  may  seem  to  the  practical  man  a  visionary 
dogma  of  the  impractical  world  of  artists,  but  there 
is  behind  it  something  irrefutable.  The  record  of 
facts  lies  with  the  artist. 

At  first  the  great  advantage  of  steel  seemed  as  if 
it  were  about  to  give  a  new  lease  of  life  to  line 
engraving.  A  steel  plate  would  often  yield  five 
hundred  good  impressions  without  showing  signs  of 
wear,  and  more  often  than  not  as  many  as  a  thousand 
prints  would  be  taken  from  it.  A  copper  plate  would 
only  yield  two  hundred  impressions  or  considerably 
less  before  it  gave  out. 

A  new  impetus  was  given  to  illustrations  appear- 
ing in  books.  The  eighteenth  century  had  seen  line 
engraving  and  stipple  engraving  applied  to  illustrate 
sumptuous  volumes,  and  in  its  later  days  employed 
extensively  for  portraits  as  frontispieces  to  thousands 
of  small  volumes  and  also  for  the  embellishment  of 
magazines.  But  with  the  advent  of  steel  engraving 
a  new  class  of  publications  arose, — the  annuals, — of 
which  "  The  Keepsake  "  and  the  "  Book  of  Beauty  " 
are  typical  examples.  "  Fine  Art  Galleries "  were 
also  published  with  portraits  after  the  originals  from 
Vandyck  to  Sir  Thomas  Lawrence,  and  with  trans- 


[i^^^^ 

r 

III. 


IV. 


THE    WIDOWED    BKIDE. 


Showing  (I)  The  Reduction.    (II  &  III)  Engraver's  Trial  Proofs.    (IV)  Finished  Proof. 

From  engraver's  proofs,  by  Edwards. 

(Size  of  original  engravings,  3|  in.  by  4I  in.) 

[To  face  page  206. 


STEEL  ENGRAVING — NINETEENTH  CENTURY      20y 

lations  of  the  old  masters  from  the  renowned  pictures 
of  the  great  European  collections. 

The  Portraits  were  the  echo  in  steel  of  the  greater 
series  in  copper  such  as  those  of  Houbraken  and 
Vertue,  and  the  Galleries  of  old  masters'  work  in 
steel  brought  down  to  a  more  popular  level  what 
Boydell  had  done  for  a  wealthier  public.  Lodge's 
"Portraits  of  the  Illustrious  Personages  of  Great 
Britain,"  in  four  volumes,  published  in  1 821-1834, 
touches  the  high  water-mark  of  the  one  class,  and 
Finden's  "  Gallery  of  British  Art "  in  sixteen  parts, 
published  in  1838-185 3,  is  representative  of  steel 
engraving  after  genre  subjects  and  landscape. 

There  is  no  doubt  whatever  that  during  the  publi- 
cation of  the  annuals,  engraving  of  a  high  order  was 
flung  with  a  prodigal  hand  before  the  public.  During 
the  period  that  they  were  fashionable  a  crowd  of 
steel  engravers  produced  work  which  is  left  for  the 
industrious  twentieth-century  collector  to  disinter 
and  marvel  at.  One  may  fling  stones  at  the  almost 
painfully  minute  delicacy  of  their  labours,  as  they 
worked  on  plates,  with  untiring  diligence,  that 
measure  only  some  three  inches  by  four  or  are  even 
of  less  dimensions.  Let  him  cast  the  first  stone  who 
can  dispute  the  power  of  the  classical  sculptors  who, 
in  a  work  only  a  few  inches  high,  can  convey  grandeur 
and  titanic  strength,  or  in  a  bas-relief  the  size  of  a 
postage  stamp  achieve  artistic  perfection. 

The  excellence  of  a  work  of  art  has  nothing  to  do 
with  its  size.  "  I  have  a  cast  from  an  antique,"  said 
old  Nollekens,  "  only  three  inches  in  height,  which, 
from  its  justness  of  proportion  and  dignity  of  attitude, 


208  CHATS   ON  OLD  PRINTS 

strikes  the  beholder,  when  it  is  elevated  only  nine 
inches  above  his  eye,  with  the  idea  of  its  being  a 
figure  full  thirty  feet  in  height."  ..."  What !  "  he 
would  exclaim,  "  is  not  that  beautiful  gem  of  Hercules 
Strangling  the  Lion  a  work  of  grand  art— and  that 
figure  is  contained  in  less  than  the  space  of  an 
inch!" 

In  regard  to  size  and  delicacy  of  finish  there  are 
the  names  of  Hollar  and  Callot  among  the  old 
masters  of  engraving,  but  there  is  little  doubt  that 
when  the  hardness  of  steel  was  found  to  admit  of 
finer  work  the  steel  engravers  pushed  this  quality 
to  its  extremest  limits,  and  it  became  a  merit  to 
produce  work  in  which  the  lines  were  laid  together 
so  closely  that  only  a  powerful  glass  can  discover 
the  technique. 

The  actual  difference  between  a  line  engraving 
executed  on  copper  and  one  engraved  on  steel — we 
are  speaking  now  of  larger  subjects  where  microscopic 
finish  is  absent  in  both — is  so  slight  in  a  print  that 
the  one  is  not  distinguishable  from  the  other.  But  in 
etching  and  in  mezzotint  its  difference  is  most  marked. 
In  the  former  the  artistic  quality  of  the  printing  loses 
Its  richness,  the  steel  takes  the  ink  in  a  different 
manner  than  does  copper,  and  in  mezzotint  on  steel 
the  result  is  of  a  peculiarly  thin  and  smoky  character. 
Owing  to  the  hardness  of  the  metal  the  tool  cannot 
go  so  deeply  as  in  copper,  the  scale  of  gradations  in 
the  lightness  and  darkness  of  the  print  is  accordingly 
restricted,  and  this  betrays  itself  in  the  printed 
impression.  For  a  learned  exposition  of  these 
differences   the  reader  cannot  do  better  than  refer 


•  »    * » 


QUEEN   HENRIETTA  MARIA. 
Wife  of  Charles  I. 

From  a  Steel  Engraving  by  H.  T.  Ryall,  after  Vandyck. 

\To  face  page  268. 


STEEL  ENGRAVING — NINETEENTH  CENTURY      209 

to  the  lectures  delivered  at  Oxford  on  Etching  and 
Mezzotinting  Engraving  by  Professor  Herkomer. 

In  the  series  of  four  plates  appearing  as  the  first 
illustration  in  this  chapter,  it  will  be  seen  by  what 
stages   the   finished  engraving  is  produced.     These 
are  engraver's  trial  proofs  during  the  progression  of 
the  plate  under  his  hand.     The  first  of  the  four  is 
what   is   known   as   the   "  reduction."     The    picture 
to   be  copied  has  first  to  be.  drawn  on  the  metal. 
The  method  here  employed  is  to  divide  the  space 
to  be  engraved  upon  into  a  series  of  squares  produced 
by  horizontal  and  vertical  lines  cutting  each  other. 
These  spaces  are  each  numbered  ;  the  figures  will  be 
seen  in  the  margins  at  the  top  and  at  the  side.     The 
picture  to  be  copied  has  the  same  number  of  lines 
stretched  across  it  by  means  of  threads  of  cotton,  by 
this  device  the  designer  is  able  to  reduce  the  propor- 
tions  of  the   original   to  the   smaller  surface  upon 
which   it  is   to  be  engraved.     The  next  stage  is  to 
employ  etching  in  the  outline  and  leading  parts  of 
the  design.     The  use  of  etching  extended  to  a  large 
portion  of  the  plate  so  much  so  that  one  wonders 
if  it  would  not  be  more  proper  to  call  many  of  these 
prints  etchings  finished  in  line  with  the  graver.     In  a 
book  published  in  1844  laying  down  rules  for  the 
steel  engraver,  the  following  shows  how  this  use  of 
etching  had  grown.  "  Every  part,  except  white  objects, 
should  be  etched  as  much  as  possible;  nothing  should 
be  left  for  the  graver  but  perfecting,  softening,  and 
strengthening." 

The    second    plate    shows    this    method   in    full 
operation.     Everything  has  been  so  etched  according 

14 


2IO  CHATS   ON  OLD  PRINTS 

to  the  formula.  The  third  plate  of  the  series  shows 
the  plate  after  the  graver  has  been  used.  Everything 
has  been  strengthened,  lights  have  been  heightened, 
and  shadows  have  been  deepened,  and  the  rich 
texture  of  the  costume  introduced.  The  fourth  plate 
shows  the  final  stage,  the  print  in  proof  state  ready 
for  its  issue  to  the  public.  The  flesh  has  been 
engraved,  and  the  rounded  form  of  pulsating  life 
given  to  the  chalky  patches  of  the  previous  stage, 
and  in  every  part  of  the  plate  last  touches  have  been 
given  to  give  colour  and  add  sparkling  reality  to  the 
engraving. 

This  print  appeared  in  the  "Keepsake"  in  1834, 
and  was  entitled  The  Widowed  Bride^  and  was  signed 
by  Edwards  as  the  engraver.     (Facing  p.  206). 

That  co-operative  engraving  and  collaboration  by 
engravers  of  prints  of  this  class  was  in  very  extensive 
use  is  shown  by  a  series  of  engravers'  trial  prints 
from  similar  publications  in  the  possession  of  the 
writer.  For  one  plate,  the  size  of  which  is  only 
3  in.  by  3 J  in.,  The  Purloined  Cap ^  after  Wilkie,  the 
private  notes  of  the  engravers  working  on  it  record 
that  "Staines  reduced  it,"  "W.  Taylor  etched," 
"  Drapery  done  by  Hatfield,"  "  Phillibrown  did  back- 
ground," "  Faces  by  Presbury  and  W.  Finden." 

Another  print  in  the  "  Keepsake  "  for  1830  of  The 
Prophet  of  St.  Paul's,  after  Chalon,  4  in.  by  3  in. 
in  size,  has  a  similar  series  of  engravers  working  upon 
it.  "  Part  by  J.  H.  Watt,"  "  Rhodes  graved  up  white 
drapery,"  "  D.  Smith  did  remainder,"  and  "  C.  Heath 
flesh." 

Here  is  the  distinct  note  of  commercialism,  the 


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STEEL  ENGRAVING — NINETEENTH  CENTURY     211 

same  indication  that  engravers  were  degenerating 
into  specialised  craftsmen  as  was  exhibited  by  the 
wood  engravers  of  a  later  period.  Too  often  a  great 
cry  has  gone  up  from  engravers  that  the  public  has 
been  unappreciative,  but  this  little  peep  behind  the 
scenes  shows  that  the  engravers  themselves  were 
doing  their  best  to  strangle  their  own  art. 

There  is  in  the  various  series  of  portraits  produced 
in  the  first  half  of  the  nineteenth  century  a  lack 
of  strength  and  ruggedness  in  the  delineation  of 
character,  this  is  particularly  noticeable  in  comparison 
with  line  engravings  of  the  seventeenth  and  early 
eighteenth  century  of  the  same  subjects.  The  soft- 
ness of  effect  in  steel  graving  is  more  suitable  for  the 
rendering  of  portraits  after  Lawrence.  The  illus- 
tration we  reproduce  of  Vandyck's  portrait  of 
Henrietta  Maria,  the  queen  of  Charles  I.,  by  H.  T. 
Ryall,  is  a  very  worthy  translation  in  line  of  this 
celebrated  portrait.     (Opposite  p.  208). 

In  landscape  there  is  an  equally  wide  range  of 
subjects  for  the  collector  of  steel  engravings  to  choose 
from.  In  the  various  art  publications  alluded  to,  and 
in  the  earlier  volumes  of  the  Art  Journal,  he  may 
find  steel  engravings  by  the  hundred  representative 
of  this  prolific  period.  For  the  present  we  shall  make 
no  allusion  to  the  great  school  of  line  engravers  who 
worked  under  the  direction  and  through  the  inspira- 
tion of  Turner  in  producing  masterpieces  in  steel 
engraving  which  distinguished  the  art  as  practised  in 
the  middle  nineteenth  century.  The  work  of  these 
men  is  dealt  with  in  the  next  chapter. 

The  following  engravers  of  the  early  nineteenth 


212  CHATS   ON  OLD  PRINTS 

century  executed  engravings  on  steel  which  entitle 
them  to  recognition  among  the  leading  exponents  of 
their  art.  Following  each  name  is  a  print  with  date 
of  publication :  Anker  Smith,  Sophonisba,  after  Titian, 
1813  ;  James  Fittler,  A  Spanish  Officer.dSt^Y  Rubens, 
1813  ;  and  The  Plague^  after  Poussin,  181 1.  Charles 
Heath,  The  Infant  Hercules^  after  Reynolds,  18 10,  and 
Portrait  of  a  Cavalier ^  after  Vandyck.  An  illustra- 
tion is  given  of  this  fine  piece  of  steel  engraving. 
The  first  state  is  at  the  completion  of  the  etching 
prior  to  the  work  with  the  graver,  as  previously 
explained.  The  sash  and  the  hilt  of  the  sword,  the 
outline  of  the  lace  collar  and  ruffles,  are  all  indicated, 
and  the  hair,  in  conforming  to  the  formula  of  execut- 
ing all  the  dark  masses  in  etching  is  done  in  elaborate 
detail.  The  print  below  it  is  a  reproduction  of  the 
same  when  in  proof  state.     (Facing  p.  210). 

Of  other  leading  engravers  mention  must  be  made 
of  William  Bromley,  Woman  taken  in  Adultery^  after 
Rubens,  181 3  ;  M.  J.  Danforth,  Uncle  Toby  and  the 
Widow  Wadman^  after  Leslie,  1833  ;  Edward 
Goodall,  The  Market  Cart^  after  Gainsborough,  1836; 
William  Finden,  George  /F.,  after  Lawrence,  1829, 
and  The  Village  Festival^  after  Wilkie,  1830; 
Abraham  Raimbach,  fupiter  and  Antiope^  after 
Titian,  1807,  George  Thomas  Doo,  GevartiuSy 
after  Vandyck,  1830;  and  Yorick  and  the  Grisette^ 
after  Newton,  1838;  John  Henry  Robinson,  Sir 
Walter  Scott^  after  Lawrence,  and  Rubens^  after 
Vandyck,  1830;  William  Holl,  the  Madonna  di  san 
SistOy  after  Raphael ;  and  Henry  Le  Keux,  the 
Embarkation  of  St.  Ursula^  after  Claude,  1839,  and 


THE   EMBARKATION   OF  ST.   URSULA. 

From    a    trial    state    by    Le    Keux    after    Claude. 


VIEW    IN   VENICE. 
From  a  finished  proof  Steel  Engraving  by  Le  Keux  after  Canaletto. 

[To  face  page  212. 


STEEL   ENGRAVING — NINETEENTH   CENTURY      21 3 

A  View  in  Venice,  after  Canaletto,  1832.  Reproduc- 
tions of  these  two  engravings  appear  as  an  illustration. 
The  former  is  an  engraver's  proof  taken  after  the 
preliminary  stage  of  etching  has  been  completed, 
the  latter  is  a  proof  after  Canaletto's  picture,  and  the 
comparison  of  these  two  will  show  how  much  is 
added  by  the  graver.  In  the  former  there  is  an 
almost  entire  absence  of  tone,  there  is  no  light  and 
no  sparkle  in  the  agitated  water  with  the  rays  of  the 
sun  aslant  upon  it,  the  whole  stands  flat  and  insipid, 
but  the  master  hand  of  Le  Keux  with  deft  touch 
transformed  that  into  a  fine  plate,  the  proof  impression 
of  which  scintillates  with  light  and  is  radiant  with 
colour.  In  the  second  print  after  Canaletto  the  rich 
effect  of  such  treatment  by  the  graver  is  most  evident. 
The  dazzling  sunlight  of  Venice,  the  deep  blue  sky 
fretted  with  a  thin  bar  of  clouds,  the  haze  of  heat,  the 
lazy  stillness  of  the  city  are  shown  with  illuminating 
dexterity  by  the  engraver.  (See  illustration  facing 
p.  212). 

The  collector  who  desires  good  examples  repre- 
sentative of  the  fine  book  illustrations  in  steel 
appearing  in  the  volumes  of  the  first  half  of  the 
nineteenth  century  will  find  a  collection  of  little 
gems  in  the  pages  of  "Jennings's  Landscape  Annual," 
"  Forget-Me-Not,"  and  the  "  Literary  Souvenir," 
published  between  the  years  1826  and  1840,  after 
S.  Prout,  D.  Roberts,  Copley  Fielding,  Bonington, 
Smirke,  and  Stothard. 

These  volumes  are  not  difficult  to  procure  and 
contain  several  fine  engravings  in  each,  as  well  as 
much  that  is  trivial.     Enterprising  printsellers  have 


214  CHATS   ON  OLD  PRINTS 

broken  up  many  of  them  and  they  can,  at  much 
saving  of  time,  be  found  in  portfolios  of  steel 
engravings  at  a  small  price  apiece.  Of  course  it 
is  desirable  to  obtain  proof  impressions  on  India 
paper  if  possible.  But  as  the  search  by  the  lover 
of  prints  is  not  conducted  with  the  hope  for  future 
gain,  and  as  proofs  are  not  easily  met  with,  he  will 
lay  aside  all  aspirations  as  to  rare  states  and  content 
himself  with  the  relics  of  the  dead  art  of  steel  engrav- 
ing as  he  finds  it — and  be  thankful. 

We  reproduce  two  illustrations  showing  in  varying 
degrees  the  extraordinary  delicacy  and  the  fine 
artistic  feeling  exhibited  in  these  minor  illustrations 
of  a  forgotten  age  of  books.  The  uppermost  is  one 
from  many  exquisite  headpieces  appearing  in  a 
"Book  of  Gems,"  published  in  1836.  The  subject 
is  entitled  Psyche^  after  Beechey,  and  was  engraved 
by  Greatbach.  Beneath  it  on  the  page  are  lines 
from  Ben  Jonson's  "  Masque  at  Court,"  telling  of  the 
search  of  Venus  for  Cupid,  who  has  strayed  away 
among  mortals.  The  engraving  of  Crooner  is  from 
Finden's  "Ports  and  Harbours  of  Great  Britain," 
published  in  1842.  This  was  executed  by  E.  Finden, 
after  T.  Creswick.  The  subject  is  treated  in  a 
picturesque  manner,  most  of  the  others  in  the 
same  book  in  two  volumes  are  more  topographical 
than  romantic.  It  remained  for  Turner  to  throw 
a  halo  of  poetry  over  our  coast  scenery  and  to 
inspire  a  band  of  engravers  to  translate  his  dreams 
into  the  silvery  medium  of  steel  engraving,  but  this 
engraving  of  Cromer^  although  far  removed  from 
him    and    them,   is    crisp    and    sweetly    suggestive 


I 


From  a  Steel  Engraving  by  Greatbach,  after  Beechey. 
i{Sniuc  size  as  original.) 


From  a  Steel  Engraving  by  Finden,   after  Creswiclv. 

{Size  of  original  engraving  4I  in.  by  7  /;;.) 

[To  face  fage  214. 


STEEL   ENGRAVING — NINETEENTH  CENTURY      215 

of  the  old  world  eyrie  set  among  the  cliffs  of  East 
Anglia. 

The  necessity  of  working  upon  so  hard  a  surface 
even  as  soft  steel  in  order  to  make  engraving  pay 
commercially  by  having  a  plate  to  yield  thousands 
of  impressions, — "  twelve  hundred  artist's  proofs  "  is 
not  an  unknown  quantity, — was  rendered  obsolete 
by  a  new  discovery  of  coating  the  copper  plate  when 
finished  with  an  infinitesimal  layer  of  steel.  The 
engraver  worked  on  the  soft  copper,  the  printer  was 
presented  with  the  hard  steel  surface.  This  was 
practically  the  death-blow  to  line  engraving,  as 
the  print  differed  in  no  respects  from  the  "artist's 
proof."  The  chief  difference  was  the  price,  and  the 
only  variation  was  the  care  in  printing  and  the 
quality  of  the  paper.  It  thus  came  about  that 
commercialism  ate  into  the  vitals  of  line  engraving, 
and  artists'  proofs  at  high  prices  were  launched  on 
the  market  only  to  be  followed  by  prints  of  not 
inferior  quality  at  a  tenth  of  the  price.  No  amount 
of  stamping  or  signing  could  blind  the  public  to  the 
fact  that  these  proofs  would  not  hold  their  own  in 
the  auction-room,  and  so  far  as  line  engraving 
was  concerned  the  decadence  very  soon  set  in.  Col- 
lectors will  be  wise  not  to  touch  anything  subsequent 
to  1820  other  than  ordinary  "  prints  "  owing  to  this 
chaotic  and  not  very  honest  state  of  things. 


i 


XI 

THE   LINE 
ENGRAVERS 
AFTER   TURNER 


CHAPTER   XI 

THE    LINE    ENGRAVERS    AFTER    TURNER 

Turner's  influence  on  engraving — The  school  of  engravers 
who  worked  under  his  supervision — Illustrated 
volumes  with  engravings  after  his  drawings — Line 
engravings  after  his  pictures. 

With  DUrer,  with  Raphael,  with  Rubens,  and  with 

Claude  Lorraine  the  name  of  Turner  stands  among 

the   painters    who    had    a    special    influence    upon 

engraving.     He  pitted    himself  against  Claude  and 

produced   his  Liber  Studiorum   in  direct  emulation 

of  his  rival's  Liber   Veritatis ;  and  Turner  had  the 

advantage   on   more   than  one   head,  not   the   least 

being  that  whereas  Claude,  who  died  in  1682,  was 

interpreted   by   Richard   Earlom    (i 740-1 822),   who 

executed    his   plates   in   mezzotint   a   century   after 

the  painter  was   dead,   Turner   etched    the   leading 

lines    of   the    plates    himself    and    supervised    the 

engravers    who    worked   upon   them   in    mezzotint. 

Claude's    original    sketches    for    his    Liber    are    at 

Chatsworth,   and    Turner's    first   drawings   in    sepia 

are  in  the  basement  of  the  National  Gallery. 

Turner's  Liber  Studiorum  was  begun  in  1807  ^^^ 
219 


220  CHATS   ON  OLD  PRINTS 

ceased  in  1819.  Out  of  the  hundred  drawings  only 
seventy-one  plates  were  issued.  It  stands  as  a 
monument  in  black  and  white  to  his  great  genius, 
but  being  executed  in  mezzotint  nothing  other  than 
passing  allusion  to  it  must  find  a  place  in  this 
chapter.  Similarly  the  "  Ports  of  England,"  pub- 
lished in  1826,  and  the  "  Rivers  of  England," 
published  in  1 825-1 826,  both  series  being  engraved 
in  mezzotint,  must  be  excluded  from  this  chapter. 
Both  before  and  after  the  Liber  {1%0%-iZig)  there 
are  line  engravings  executed  from  drawings  by 
Turner  which  should  appeal  with  especial  favour 
to  all  lovers  of  Turner  who  cannot  aspire  to  collect- 
ing the  much  sought-after  prints  of  the  Liber,  The 
collecting  of  the  separate  prints  of  this  latter  is  a 
special  and  absorbing  branch  of  print  collecting,  and 
men  have  devoted  their  lives  to  this  one  study. 
"  Engraver's  Proofs  "  and  "  First  States  "  and  even 
up  to  "  Fifth  States "  have  to  be  studied  with  dis- 
criminating judgment.  An  engraver's  proof  of 
Solway  Moss  from  the  Liber  cannot  be  bought 
for  less  than  £^^0,  an  indifferent  print  of  a  third 
or  fourth  state  is  worth  ;f  3  ;  Hind  Head  Hill  in 
first  state  is  worth  ;f  20,  in  second  state  ^3, — and  so 
on.  Obviously  this  is  not  the  field  for  the  young 
collector,  and  it  is  not  within  the  scope  of  this 
volume.  Whatever  can  be  said — and  much  may  be 
said  as  to  the  value  of  early  states  in  mezzotints, 
owing  to  the  evanescent  quality  of  the  work — this 
zealousness  need  not  apply  in  so  great  a  degree  to 
the  line  engravings  after  Turner  where  signs  of  wear 
are  not  so  evident. 


THE   LINE   ENGRAVERS  AFTER    TURNER         221 

It  is  interesting  to  note  that  Turner's  work  for  the 
engravers  was  a  dominating  feature  in  his  career, 
and  if  McArdell  and  Valentine  Green  with  their 
fine  array  of  mezzotint  portraits  after  Sir  Joshua 
Reynolds's  canvases  immortalised  his  memory,  it 
is  no  less  true  that  the  crowd  of  engravers  who 
worked  in  mezzotint  and  line,  but  chiefly  in  line, 
have  preserved  the  brilliant  landscapes  of  Turner 
for  posterity.  The  following  salient  facts  in  regard 
to  the  dates  of  his  pictures,  in  comparison  with  the 
dates  during  which  he  was  embarking  upon  enter- 
prises connected  with  various  series  of  engraved 
work  after  his  drawings,  and  supplying  material  for 
publications  of  most  diverse  character,  shows  most 
conclusively  that  Turner  did  not  consider  it  beneath 
his  dignity  to  apply  himself  industriously  to  book 
illustration. 

The  following  pictures,  arranged  chronologically 
from  the  mass  of  his  work  in  the  National  Gallery, 
indicate  the  various  phases  through  which  he  passed : 
The  Shipwreck  (1805),  The  Sun  Rising  in  a  Mist 
(1807),  Dido  Building  Carthage  (181 5),  Bay  of  BaicB, 
Apollo  and  the  Sibyl  (1823),  Cologne,  Evening  (1826), 
Ulysses  Deriding  Polyphemus  (1829),  The  Loretto 
Necklace  (1829),  Childe  Harolds  Pilgrimage  (1832), 
The  Fighting  Thneraire  (1839),  The  Burial  of  Sir 
David  Wilkie  (1842),  The  Approach  to  Venice  (iS42))y 
and  The  "Sun  of  Venice"  Going  to  Sea  (1843). 

Simultaneously  the  following  series  of  engraved 
v/orks  after  Turner's  drawings  made  their  appear- 
ance: The  "Britannia  Depicta "  (1807-1810),  with 
the  following  seven  plates  (8-|-  in.  by  6J  in.),  engraved 


222  CHATS   ON  OLD  PRINTS 

by  W.  Byrne — EtoUy  Wickham^  Newbury^  Doning- 
ton  Castle^  Abingdon^  Chester^  and  Chester  Castle. 
"  Mawman's  Tour"  (1805)  had  three  engravings  by 
J.  Heath  (5J  in.  by  4  in.) — Patterdale^  Inverary^  and 
Loch  Lomond,  The  well-known  series  of"  Picturesque 
Views  on  the  Southern  Coast  of  England  "  was  pub- 
lished from  1 81 3  to  1826,  and  consisted  of  eighty 
beautiful  plates  engraved  by  G.  Cooke,  W.  B.  Cooke, 
E.  Goodall,  W.  Miller,  and  others,  in  which  some 
of  his  most  enduring  work  appears,  delectable 
records  of  his  romantic  moods.  During  the  years 
1817-1822  appeared  "Whittaker's  History  of  Rich- 
mondshire,"  with  twenty-one  plates  engraved  by 
J.  Scott,  S.  Rawle,  J.  Archer,  T.  Higham,  John  Pye, 
W.  R.  Smith,  W.  Radcliffe,  G.  Heath,  J.  C.  Varrall 
J.  Le  Keux,  and  S.  Middiman. 

"Views  in  Sussex"  was  published  in  1819,  a  com- 
plete set  of  five  plates  (11  in.  by  y\  in.)  engraved 
by  W.  B.  Cooke. 

In  the  following  year  in  "  Hakewill's  Picturesque 
Tour  in  Italy"  there  are  eighteen  plates  after  Turner. 
The  size  of  these  plates  is  only  8J  in.  by  5  J  in. 

Sir  Walter  Scott  and  Turner  join  hands  in  the 
"  Provincial  Antiquities  and  Picturesque  Scenery 
of  Scotland,"  published  in  1826.  There  are  forty- 
two  fine  plates  after  Turner  and  others.  Lucky  is 
he  who  can  procure  the  ten  parts,  folio,  of  these  in 
large  paper  proofs.  In  a  recent  catalogue  the  writer 
saw  a  copy  marked  as  "  unopened  "  for  five  guineas. 
Forty-two  magnificent  steel  engravings  for  a  hundred 
and  five  shillings,  that  is  less  than  half  a  crown 
apiece,  and   their  whilom  owner  had  not  even  cut 


VIEW  OF   ROUEN. 
From  Steel  Engraving  by  R.  Brandard,  after  Turner. 


»  ^ »   «  *  .  * 


ROUEN   CATHEDRAL. 
From  Steel  Engraving  by  Thomas  Higham,  after  Turner. 
An  cnlarslcmcnt  of  portion  of  this  appears  opposite  p.  42. 

{To  face  pas^e  222. 


THE  LINE  ENGRAVERS  AFTER   TURNER        223 

the  leaves !  Tantallon  Castle^  engraved  by  E.  Goodall, 
Roslin  Castle  by  W.  R.  Smith,  or  Linlithgow  Palace 
by  R.  Wallace,  for  half  a  crown,  are  among  the  gems 
of  this  volume. 

The  great  series  of  "  England  and  Wales  "  was 
published  in  parts  between  the  years  1827  and  1838. 
They  were  issued  in  three  states,  engraver's  proofs, 
proofs  before  letters,  and  lettered  proofs,  all  on  India 
paper,  and  lettered  proofs  and  print  impressions  both 
on  plain  paper.  Turner's  care  of  his  reputation  was 
so  great  that  he  bought  for  ^3,000  the  copper  plates 
of  this  series  to  prevent  bad  impressions  being  made 
of  his  plates.  Engraver's  proofs  of  these  sell  for  a 
guinea  each  and  some  of  the  rarer  plates  for  three 
guineas.  There  is  a  long  list  of  engravers  who  helped 
to  spread  the  name  and  fame  of  Turner,  till  his  work 
and  theirs  became  of  European  renown.  E.  Goodall, 
with  his  plate  of  Alborough^  W.  Miller  with  Carew 
Castle  and  Windsor  Castle^  S.  Fisher  with  Coventry^ 
Crickieth  Castle^  Dudley^  and  St.  Michaets  Mounts 
R.  Brandard  with  Lancaster  Sands,  J.  T.  Willmore 
with  Llanthony  Abbey,  Llangollen,  Penmaen  Mawr, 
Powys  Castle,  and  Richmond  Terrace,  W.  R.  Smith 
with  the  Chain  Bridge  over  the  Tees,  Harlech  Castle, 
Leicester  Abbey,  and  Lowestoft,  W.  Radclyffe  with 
Salisbury,  and  Carnarvon  Castle,  and  T.  Higham  with 
Ely  Cathedral.  But  this  does  not  exhaust  the  list  of 
engravers,  nor  enumerate  the  list  of  the  fine  plates 
(ninety-six  in  number);  there  is  the  work  of  T. 
Jeavons,  R.  Wallis,  J.  Redway,  J.  Horsburgh, 
C.  Westwood,  W.  Tombleson,  J.  C.  Varrall,  J.  H. 
Kernot,  J.  Henshall,  and  others. 


224  CHATS   ON  OLD  PRINTS 

There  is  Rogers's  "Italy"  and  "Poems,"  two  J 
volumes,  the  first  editions  of  which  appeared  in  ■ 
1830  and  1834  with  fifty-six  exquisite  vignettes 
after  Turner  and  Stothard.  Among  the  most 
delightful  of  the  plates  must  be  mentioned  Tivoliy 
by  Pye,  St.  Maurice  and  Tornaro  by  Wallis,  and  the 
Lake  of  Como  by  Goodall. 

Turner's  "  Annual  Tour  "  in  1833  comprised  a  set 
of  twenty-one  plates  of  the  Loire,  and  in  the  two 
following  years  his  "  Annual  Tours "  consisted  of 
views  on  the  Seine,  with  forty  subjects,  including 
those  of  Rouen. 

From  the  "  Rivers  of  France  "  series  we  reproduce 
four  illustrations  from  the  hands  of  four  engravers 
to  show  the  variety  of  subject  and  the  amazing 
excellence  of  technique.  Rouen  Cathedral^  engraved 
by  Thomas  Higham,  is  perfect  in  its  detail  of  archi- 
tectural beauty,  as  the  reproduction  facing  p.  222, 
shows.  The  other  Rouen  on  the  same  page  is  from 
a  small  print  by  Robert  Brandard,  who  engraved  a 
large  plate  (24  in.  by  18  in.)  from  the  picture.  Crossing 
the  Brook^  and  another  large  plate.  The  Bay  of  Baice. 
He  was  born  at  Birmingham  and  was  a  pupil  of 
Goodall.  Like  Goodall,  he  was  himself  a  painter, 
and  one  of  his  water-colours,  Rocks  at  Hastings^  is  in 
the  Victoria  and  Albert  Museum.  He  engraved 
some  of  the  subjects  for  "  England  and  Wales " 
series  and  numerous  plates  in  the  "  Turner  Gallery," 
published  by  Messrs.  Virtue,  and  in  the  Art  fournal 
between  18 50- 1860  there  is  to  be  found  much  fine 
work  from  his  graver.  From  this  source  we  illustrate 
the  Stranded   Vessel  ojf    Yarmouth^  which  exhibits 


AMBOISE 
From  a  Steel  Engraving  by  W.  R.  Smith,  after  Turner. 


MANTES. 

From  a  Steel  Engraving  by  W.  Radclyffe. 


[To  face  'page  224. 


THE  LINE  ENGRAVERS  AFTER   TURNER        225 

steel  engraving  at  its  high-water  mark   in   popular 
illustration.    (Opposite  p.  228). 

The  other  two  plates  from  the  "  Rivers  of  France  " 
series  we  reproduce,  Mantes  and  Amboise^  are  by 
W.  Radclyffe  and  W.  R.  Smith.  The  former  did 
several  plates  for  the  "England  and  Wales"  series, 
including  Carnarvon  Castle^  Salisbury^  Louth^  Keswick 
Lake^  and  Ashby-de4a-Zouch.  The  latter  engraver 
executed  among  other  plates  for  the  same  series 
Richmond  {Surrey\  Saltash^  and  Harlech  Castle. 
The  Amboise  we  illustrate  from  his  graver  exem- 
plifies the  mastery  he  had  over  his  technique  in 
his  rendering  of  tone.     (Opposite  p.  224). 

In  Turner's  "  Illustrations  to  the  Works  of  Sir 
Walter  Scott,"  1834,  there  are  forty  plates  illustrating 
the  prose  works  and  twenty-four  illustrating  the 
poems,  and  Campbell's  "Poems"  in  1837  has  a  set 
of  twenty  vignettes  after  Turner. 

William  Miller,  of  Edinburgh,  the  Quaker,  was, 
according  to  Ruskin,  Turner's  best  engraver.  The 
great  bulk  of  his  work  is  after  Turner.  His  large 
plates — The  Grand  Canal^  Venice^  and  the  Rhine  at 
Falzen — are  well  known.  In  Rogers's  "Poems"  he 
did  Loch  Lomond  and  the  Rialto.  In  Scott's  prose 
works  his  best  plates  are  Verona^  Glencoe^  Mayence^ 
The  Simplon^  Stirling^  and  Inverness.  In  Scott's 
poetical  works,  Dryburgh,  Berwick-on-Tweed^  and 
Melrose  are  his  finest.  We  reproduce  this  latter, 
which  exhibits  the  extreme  delicacy  of  Miller  at 
his  best  in  interpreting  the  atmospheric  effects  of 
Turner.  The  original  from  which  the  illustration 
here  produced   (opposite   p.  226)  is   taken   is   only 

15 


226  CHATS   ON  OLD  PRINTS 

5f  in.  by  3^  in.,  but  it  is  a   masterpiece  of  line 
engraving. 

Edward  Goodall,  of  Leeds,  a  self-taught  engraver, 
attracted  the  attention  of  Turner,  who  engaged  him 
to  engrave  after  him.  His  exquisite  little  vignettes 
in  Rogers's  "  Italy  "  and  "  Poems  "  are  inspired  with 
the  spirit  of  the  master  whose  drawings  they  interpret. 
We  reproduce  a  fine  plate  of  Carlisle,  which  is  in  size 
3j  in.  by  5f  in.  The  rainbow  lights  up  the  little 
plate.  Among  all  Turner's  engravers  there  are  few 
who  can  equal  in  poetry  and  in  grace  either  Miller 
or  Goodall. 

This  long  catalogue  is  only  suggestive,  rather  than 
exhaustive,  of  the  work  of  the  astoundingly  prolific 
genius,  with  a  hand  as  delicate  as  a  watchmaker  in 
pencilling  the  most  minute  details  of  his  work,  and 
with  a  vision   as   profoundly  penetrating  into  the 
mysteries  of  Nature  in  her  awesome  moods  as  was 
Dante  in  symbolism  and  in  his  visionary  interpreta- 
tion of  the  realm  of  the  unseen.     In  colour.  Turner's 
breadth  and   his   mastery  were    as  varied    as    the 
sympathetic   mastery   of  Shakespeare  over    human 
emotions  or  the  airy  subtleties  of  Shelley  in  ecstatic 
idealism.     The  son  of  the  barber  of  Maiden  Lane 
peered  beyond  the  London  mists  and  Thames-bound 
environment  of  smoky  sunsets,  and  of  murky  sun- 
rises.  He  roamed  over  England  and  drank  in  all  that 
the  sylvan  glades  and  purling  streams,  all  that  the 
white,  sparkling  cliffs  and  the  rock-bound  coast  and 
the  turbulent  sea  could  convey  to  genius  with  whom 
none  in  England  and  few  in  modern  art  in  Europe 
can  stand  without  total  eclipse.    From  the  dark  and 


1 


■ 

^^^^^^^H||hII|^^^,                        '^S 

^^^^^^H 

^^^^^■k 

^^^^1 

'^            €l 

L^ 

CARLISLE. 
From  a  Steel  Engraving  by  E.  Goodall,  after  Turner. 


MELROSE. 
From  a  Steel  Engraving  by  W.  Miller,  after  Turner. 


[To  face  fage  226. 


THE  LINE  ENGRAVERS  AFTER    TURNER         2 27 

tormented  waters  of  Loch  Lomond  to  the  sunlit  bay ' 
of  Barmouth  he  made  all  picturesque  England  his 
own.  Across  the  frowning  abysses  of  the  Alps  he 
came  a  greater  conqueror  than  Napoleon.  He  threw 
off  the  shackles  of  classic  Italy,  and  made  the  shim- 
mering glow  of  the  lagoon  and  the  fairylike  flotilla 
of  the  gondolas  of  Venice  resume  the  splendour  of 
their  former  state.  There  is  no  master-hand  like  that 
of  Turner,  and  the  romantic  halo  that  his  worshippers 
have  woven  around  his  memory  is  deservedly  his. 

It  may  readily  be  understood  how  great  a  task  is 
before  the  collector  who  sets  out  to  obtain  a  repre- 
sentative collection  of  engravings  after  Turner.  The 
National  Gallery  has  five  hundred  of  his  water-colour 
drawings  framed  and  arranged  in  a  series  of  rooms  in 
the  basement,  from  elaborate  and  finished  drawings 
from  which  the  plates  for  the  "  Rivers  of  France  " 
were  engraved  to  hasty  sketches  in  colour,  cupolas 
hanging  pendulous  in  mist,  weird  skeletons  of  ship- 
wrecked barques  beached  and  striking  the  note  of 
mysterious  tragedy,  splashes  of  crimson  set  in  the 
foreground  with  ribs  of  purple  and  ultramarine 
stretched  across  the  sky — inchoate  but  alive,  with 
intense  suggestion  of  some  dream  of  Nature  that 
Turner  snatched  in  a  fleeting  moment,  and  threw  on 
to  paper  with  the  mechanical  aid  of  pigments.  It 
requires  the  seeing  eye  and  the  understanding  heart 
of  a  poet  and  an  artist  to  interpret  these  dreams. 

The  nation  became  possessed  of  a  hundred  oil 
pictures  and  about  nineteen  thousand  drawings  in 
water-colour  and  sketches.  But  this  does  not  repre- 
sent all  Turner's  life's  work,  and  when  the  fugitive 


228  CHATS   ON  OLD  PRINTS 

colours  he  was  wont  to  use  have  melted  into  the 
background,  when  the  bitumen  has  become  cracked 
and  dull,  and  when  the  crimsons  and  the  vermilions 
and  the  yellows  have  lost  their  brilliance  as  they 
are  unfortunately  fast  doing,  there  is  still  the  per- 
manent record  in  the  engravings  upon  which  coming 
generations  must  rely  for  their  views  on  the  work  of 
Turner.  It  is  in  vain  that  the  authorities  place  little 
curtains  to  screen  the  light  from  his  delicate  water- 
colour  drawings,  sooner  or  later,  and  the  time  is 
surely  coming,  the  beautiful  dreams  of  Turner  will 
have  faded,  as  do  all  dreams,  into  nothingness. 

In  addition  to  the  many  illustrated  volumes  and 
the  series  of  prints  he  himself  issued,  there  are  the 
larger  engravings  after  his  pictures.  Cologne  was 
engraved  by  E.  Goodall  in  1824,  its  size  is  18J  in. 
by  13J  in.  Tivoli^  by  the  same  engraver  in  1827, 
is  24  in.  by  16  in.  Mercury  and  Argus ^  1841  (15  in. 
by  loj  in.).  The  Old  Tern^raire^  1845  (15  in.  by  11  in.), 
both  engraved  by  J.  T.  Willmore.  The  latter  subject 
was  also  engraved  in  a  large  size  (23^  in.  by  16  in.), 
by  T.  A.  Prior.  Modern  Italy,  1843  (24  in.  by  17  in.), 
was  engraved  by  W.  Miller,  and  Ehrenbreitstetn,  1846 
(i5j-  in.  by  11^  in.),  by  John  Pye,  and  there  is  the 
Straits  of  Dover,  1863  (22  in.  by  15J  in.),  engraved 
by  W.  Chapman.  This  does  not  exhaust  the  list, 
but  it  is  representative  of  the  larger  plates  engraved 
after  his  oil  pictures.  There  is,  however,  something 
about  them  less  pleasing  than  the  smaller  plates  of 
the  same  subjects  and  of  subjects  after  his  water- 
colour  drawings. 

We  have   already  alluded   to   Brandard   and  his 


STRANDED   VESSEL  OFF   YARMOUTH. 
From  a  Steel  Engraving  by  R.  Brandard,  after  Turner. 


ST.   MICHAEL'S  MOUNT,    CORNWALL. 

From  a  Steel  Engraving  by  J.  Cousen,  after  Turner. 

ITo  face  page  228. 


rft.^t  'i 


THE  LINE  ENGRAVERS  AFTER    TURNER        229 

prolific  work  as  an  interpreter  especially  of  pictures, 
and  the  accompanying  illustration  of  his  Stranded 
Vessel  off  Yarmouth  we  place  side  by  side  with 
Cousen's  St,  Michael's  Mount,  Cornwall,  Brandard 
executed  three  fine  plates  for  the  "  Rivers  of  France," 
the  Bridge  of  Meulan,  the  Light  Towers  of  La  Heve, 
and  Chateau  Gaillard,  His  work  for  the  "Turner 
Gallery  "  is  well  known,  and  the  specimen  we  illus- 
trate is  from  that  series. 

Something  must  be  said  in  passing  as  to  John 
Ruskin  and  his  criticism  of  Turner.  He  represents 
the  school  of  critics  who  have  seen  in  Turner's  art 
something  more  spiritual  and  more  unfathomable 
than  probably  the  painter  intended.  At  the  opposite 
pole  there  is  Philip  Gilbert  Hamerton  with  sane  and 
well-balanced  views  who  examines  Turner  more 
coldly  and  scientifically.  In  order  to  obtain  a  true 
estimate  of  Turner's  position  in  Art  it  is  necessary 
to  correct  Hamerton  by  Ruskin,  and  to  correct 
Ruskin  by  Hamerton.  They  both  have  a  con- 
vincing manner,  and  both  have  the  fatal  gift  of 
creating  partisans  who  are  inclined  to  become  more 
pronounced  in  their  views  than  their  teachers. 

Between  the  view  of  Ruskin  that  Turner  was  an 
"  archangel,"  a  being  of  the  most  unequalled  intellect, 
and  the  greatest  painter  of  all  time,  and  that  of 
Hamerton  who  held  him  to  be  a  man  of  genius  to 
be  ranked  with  other  men  of  genius,  who  had  the 
grand  passion  for  expressing  himself  in  Art,  but  "  the 
far  commoner  passion  for  accumulating  money,"  there 
is  a  golden  mean,  and  that  the  reader  must  take  for 
himself. 


2^30  CHATS   ON  OLD  PRINTS 

Turner  was  not  discovered  by  Ruskin ;  the  contrary 
opinion  seems  to  have  seized  popular  imagination. 
But  Turner  exhibited  at  the  Academy  for  the  space 
of  sixty  years,  and  had  been  a  Royal  Academician 
seventeen  years  before  Ruskin  was  born.  Ruskin 
spent  his  childhood  in  feasting  his  eyes  on  the 
beautiful  prints  after  Turner's  pictures  which  were 
scattered  up  and  down  the  publications  of  the  day. 
But  he  popularised  him,  and  a  tribute  should  be  paid 
to  Ruskin's  memory  for  the  loving  labour  he  be- 
stowed in  cataloguing  and  arranging  the  mass  of 
water-colour  drawings  Turner  left  behind  him  which 
were  in  danger  of  being  neglected.  But  Turner  him- 
self was  not  neglected.  He  left  the  nation  which  is 
supposed  to  have  neglected  him  ;^  140,000.  He 
received  an  offer  of  ;£"  100,000  for  the  contents  of  his 
house  in  Queen  Anne  Street,  as  well  as  a  proposal 
to  purchase  his  two  pictures  of  Carthage  from  a 
committee  of  which  Sir  Robert  Peel  was  a  member ; 
these  he  generously  refused,  having  bequeathed  his 
pictures  to  the  nation.  Turner's  will  was  so  confused 
that  it  led  to  years  of  litigation,  and  many  of  its 
provisions  were  set  aside.  Much  of  the  money  he  left 
was  absorbed  by  lawyers,  but  the  Royal  Academy 
received  ;£'20,ooo. 

Of  modern  engravings  exhibiting  the  highest  inter- 
pretative skill  in  rendering  his  dreamy  and  romantic 
effects  with  dazzling  and  brilliant  technique,  the  great 
school  whose  work  is  found  in  the  justly  renowned 
"  Southern  Coast "  series  in  the  "  England  and 
Wales  "  and  in  the  other  works  we  have  enumerated, 
but  more  particularly  in  the  first,  has  no  equal  in 


CROSSING    THE   BROOK. 


From  a  Steel  Engraving  by  W.  Richardson,  after  Turner. 

[To  face  page  23a. 


THE  LINE  ENGRAVERS  AFTER   TURNER        23 1 

interpreting  landscape  more  faithfully  than  by  any 
other  method.  Etching  can  produce  no  flying  troops 
of  clouds  as  did  the  gravers  of  Cooke  or  Miller,  and 
mezzotint  can  never  represent  the  sparkling  lights, 
and  the  luminous  atmosphere  which  the  line  engravers 
of  this  exquisite  period  have  left  to  posterity.  As 
we  have  before  remarked,  steel  engraving  may  bring 
down  upon  it  the  opprobrium  of  the  fastidious 
specialist,  to  whom  its  machine-ruling,  its  seizure 
of  etching,  and  its  elaboration  of  dry  point,  may 
seem  to  be  "  a  manufacture  rather  than  an  art."  But 
where  is  there  such  another  manufacture  in  print  and 
paper  as  is  found  in  the  work  of  this  school  of  line 
engravers  in  the  glorious  plates  they  executed  under 
the  inspiration  of  Turner. 

Many  of  Turner's  canvases  were  engraved  by  a 
later  generation  of  men  than  those  who  worked  on 
the  illustrated  books  and  series,  and  are  to  be  found 
in  the  "  Turner  Gallery  "  and  in  other  similar  publi- 
cations by  men  fired  into  enthusiasm  by  Turner's 
genius.  The  illustration  of  Crossing  the  Brook^  by 
W.  Richardson,  is  from  the  picture  now  in  the 
National  Gallery.  The  size  of  the  engraving  is 
8|-  in.  by  lof  in.     (Facing  p.  230). 

Of  the  glorious  sunlit  dreams  of  colour  on  the 
canals  of  Venice  as  rich  with  gorgeousness  as  the 
glowing  canvases  of  Titian,  Turner  has  left  a  wealth 
of  record  of  his  pilgrimage  across  the  Alps.  His 
Venice  from  the  Canal  of  the  Giudecca^  which  we 
illustrate,  is  from  a  picture  in  the  National  Gallery 
engraved  by  Brandard.  It  is  a  city  of  silver  and 
rose-coloured  palaces  set  in  an  emerald  sea,  radiant 


232  CHATS  ON  OLD  PRINTS 

with  colour,  somnolent  with  a  grandeur  transmitted 
from  centuries  of  decadent  magnificence.  It  is  here 
that  a  long  line  of  Doges  have  wedded  with  mystic 
pageantry  the  city  of  sleeping  palaces  and  drowsy 
canals  to  the  blue  waters  of  the  Adriatic.  As  a 
companion  picture  from  the  graver  of  T.  A.  Prior 
is  another  scene  of  Venice  showing  the  Doge's 
Palace  with  the  Bridge  of  Sighs,  and  behind  stands 
erect  the  turret  of  the  Campanile  of  St.  Mark's,  which 
has  now  fallen,  and  at  its  fall  men  and  women  wept 
at  the  ruin  of  their  beloved  tower.  But  London 
would  stand  dry-eyed  even  if  the  Abbey  were 
demolished.  Trafalgar  Square,  apparently,  is  no 
man's  land.  The  most  glorious  site  in  Europe  is  given 
up  to  ornamental  fountains  which  spurt  green  water 
into  a  greener  pool,  and  to  complete  the  harmony 
a  "  Tube  "  station  opens  upon  the  space  which  might 
well  be  planted  with  shrubs  and  trees  and  laid  out 
with  grass. 

In  order  to  familiarise  himself  with  the  better- 
known  Turner  prints  the  beginner  cannot  do  better 
than  refer  to  the  various  volumes  and  series  alluded 
to  in  order  to  become  acquainted  with  the  appearance 
of  the  prints.  By  frequenting  the  lesser-known  print 
shops  he  will  not  infre.quently  be  able  to  procure  for 
less  than  a  shilling  apiece  odd  prints  from  one  of 
these.  Of  course  those  on  India-paper  are  more 
costly,  and  their  appearance  in  this  state  naturally 
induces  the  printseller  to  demand  a  higher  price,  but 
in  the  initial  stages  of  Turner-collecting  it  is  an 
excellent  training  to  commence  with  loose  prints  at 
small  prices,  and  gradually  advance  to  finer  states. 


VENICE. 

From  the  Canal  of  the  Giudecca 
From  a  Steel  Engraving  by  R.  Brandard,  after  Turner. 


VENICE — THE  GRAND  CANAL. 

From  a  Steel  Engraving  by  T.  A.  Prior,  after  Turner. 

[To  face  ffige  232. 


'*  •  .9     C, 


THE   LINE  ENGRAVERS  AFTER    TURNER        233 

The  following  list  is  in  no  way  to  be  regarded  as 
anything  but  roughly  representative  of  the  various 
types  of  prints  which  ought  not  to  be  beyond  the 
ambition  of  the  reader  for  whom  this  volume  is 
intended  : — 


"Copperplate  Magazine"  (1794-98)  :— 

Earliest  engravings  from  Turner's  drawings  (6 J  in.  by  4I  in,). 
Nottingham,  Chepstow,  Ely,  Flint,  and  10  others,  2s.  6d.  each 
"  The  Pocket  Magazine  "  (1795-96)  :— 

Windsor,  Swansea,  Staines,  Bristol,  Chelsea,  &c. 
Engraved  by  Tagg,  Rothwell,  and  others,  is.  6d.  each. 
Britannia  Depicta  (1803-10),  seven  plates  engraved  by  W. 
Byrne,  5s.  each. 
"Picturesque    Views    on     the    Southern    Coast    of    England" 
(1813-26)  :— 
Eighty  plates,  worth  £1$  15s.    Large  paper,  first  edition,  open 
letter  proofs. 
The  following  separate  plates  are  worth  : — 
Hythe,  by  G.  Cooke,  Engraver's  proof,  India-paper,  21s. 
Rye,  by  E.  Goodall,  early  lettered  impression,  4s. 
Torhay,  by  W.  B.  Cooke,  early  lettered  impression,  5s. 
St.  Michael's  Mount,  by  W.   B.   Cooke,  early  lettered  im- 
pression, 4s. 
"Turner's  Annual  Tours"  (1833-35),  3  vols.  :— 

With  61  plates  of  Views  on  Loire  and  Seine,  India  Proofs,  sell 

for  50s.  each  volume. 
Separate  plates  of  these  three  vols,  sell  from  2s.  6d.  to  5s.  each. 
"  England  and  Wales  "  series  (1827-38)  with  96  plates  :— 

Carew  Castle,  by  W.  Miller,  Engraver's  proof,  India-paper, 

£3  3s. 

Chain  Bridge  over  the  Tees,  by  W.  R.  Smith,  Engraver's  proof, 
India-paper,  £$  3s. 

Llanthony  Abbey,  by  J.  T.  Willmore,  Engraver's  proof,  India- 
paper,  £1  IIS. 

Salisbury,  by  W.   Radclyffe,  Engraver's  proof,  India-paper 

£1  IS. 

Later  states  of  this  series  may  be  procured  on  ordinary  paper 
at  sums  from  5s,  upwards. 
Large  Plates  after  Pictures  : — 

Cologne,  by  E.  Goodall,  India  Proof,  before  letters,  £2  5s. 


234  CHATS   ON  OLD  PRINTS 

Tivoli,  by  E.  Goodall,  India  Proof,  before  letters,  £i  is. 

The  Old  Tcmeraire,  by  J.  T.  Willmore,  India  Proof,  before 

letters,  ;^5  5s. 
Ehrenbreitstein,  by  John  Pye,  Print  impression,  5s. 
Modern  Italy,  by  W.  Miller,  Print  impression,  los.  6d. 
Turner  Gallery  : — 

Petworth  Park,  by  R.  Wallis,  Engraver's  proof,  7s.  6d. 
Calais  Pier,  by  J.  Cousen,  Engraver's  proof,  7s.  6d. 
Bacchus  and  Ariadne,  by  C.  Cousen,  Engraver's  proof,  7s.  6d. 
Dutch  Boats  in  a  Gale,  by  J.  C.  Armytage,  Engraver's  proof, 

7s.  6d. 
Ordinary  print  impressions  can  be  had  at  is.  apiece. 

In  addition  to  the  above  there  are  innumerable 
prints  which  may  be  picked  up  in  various  states  at 
prices  varying  from  a  few  pence  to  a  few  shillings. 
The  prices  of  all  Turner  engravings  are  rapidly 
advancing,  but  the  beginner  with  the  hints  here  given 
ought  not  to  find  himself  at  a  loss  to  progress,  if  he 
be  inclined  so  to  do,  from  the  initial  steps  of  the 
loose  prints  in  the  printseller's  portfolio  to  a  surer 
knowledge  of  finer  impressions  and  rarer  states. 


XII 

MEZZOTINT 
ENGRAVING 


CHAPTER  XII 

MEZZOTINT  ENGRAVING 

The  technique — Its  introduction  into  England — Its  early 
exponents  —  The  great  eighteenth- century  mezzo- 
tinters  after  Sir  Joshua  Reynolds — Turner  as  a 
mezzotint  engraver  —  The  Liber  Studiorum  the 
greatest  series  of  mezzotints  of  the  nineteenth  cen- 
tury— Mixed  mezzotint  and  modem  methods — The 
collection  of  mezzotints  restricted  to  wealthy 
collectors. 

The  Technique. — In  mezzotint  engraving  the  copper 
plate  is  first  "  grounded "  by  rocking  a  tool  known 
as  the  "  cradle  "  over  its  surface  until  it  presents  the 
appearance  of  a  file.  This  mezzotint  grounding  tool 
is  frequently  attached  to  a  rocking  pole  to  facilitate 
its  use.  The  teeth  on  this  cradle  vary  from  twenty- 
eight  to  the  inch  to  a  hundred  and  five  to  the  inch. 
The  early  mezzotinters  laid  their  grounds  With  a 
channelled  roller ;  later  the  cradle  came  into  use, 
and  in  the  latest  form  the  rocking  pole  was  added, 
and  a  more  scientific  method  of  ploughing  the 
"ways"  into  the  copper  was  invented.     In  the  later 

237 


238  CHATS  ON  OLD  PRINTS 

days  of  mezzotint  an  angle  instrument  was  intro- 
duced which  regulated  with  exactitude  the  series 
of  progressive  angles. 

The  method  of  procedure  is  as  follows  :  The  plate 
has  a  series  of  chalk  lines  drawn  upon  it  about  three- 
quarters  of  an  inch  apart.  Between  these  lines  the 
cradle  is  worked  over  the  plate  from  the  top  to  the 
bottom  in  a  series  of  parallel  paths.  This  tool  is  a 
wide  chisel  with  curved  blade  like  a  cheese-cutter 
and  having  teeth,  the  method  of  using  this  in 
rocking  motion  gives  it  the  name  of  "rocker"  or 
cradle.  This  operation  of  crossing  the  plate  is 
termed  a  "way."  New  parallel  chalk  lines  are 
drawn  across  the  plate  from  one  side  to  the  other 
and  a  similar  series  of  paths  worked  across  the  plate 
cutting  the  former  grooves  at  right  angles.  This  is 
another  "way."  Similarly  by  travelling  across  the 
plate  from  corner  to  corner,  other  paths  are  worked 
which  cut  the  former  lines  at  an  angle  of  forty-five 
degrees.  To  make  this  clearer,  if  it  were  a  map 
these  latest  paths  would  run  from  south-west  to 
north-east,  and  from  south-east  to  north-west.  This 
operation  is  repeated  in  graduated  angles  from  sixty 
to  a  hundred  times,  and  the  entire  surface  of  the 
plate  is  reduced  to  a  state  of  "  burr  "  of  infinitesimal 
size. 

But  the  beginner  need  not  bother  himself  over  this 
laying  of  ground.  The  object  is  to  produce  a  plate 
covered  in  every  place  with  a  burr  which  if  inked 
would  give  an  impression  on  paper  of  a  rich  velvety 
black.  This  is  then  the  starting-point  of  mezzotint 
engraving. 


MEZZOTINT. 
From  early  trial  proof. 


From  proof  on  completion. 


REPRODUCTIONS   OF   MEZZOTINT. 


[To  face  fage  238. 


MEZZOTINT  ENGRAVING  239 

By  the  aid  of  the  accompanying  reproductions  it 
will  be  seen  what  are  the  next  steps.  The  upper 
illustration  shows  the  plate  after  it  has  had  a  few 
tints  scraped  out.  In  mezzotint  no  lines  are  em- 
ployed, and  the  subject  to  be  engraved  is  wrought 
by  scraping  away  the  burr  in  the  lighter  tones  with 
a  tool  knov/n  as  a  "  scraper "  and  in  the  high  lights 
polishing  it  quite  smooth  with  a  "  burnisher."  This 
operation  is  carefully  continued  until  the  plate 
reaches  a  condition  to  give  an  impression  as  is 
shown  in  the  lower  illustration. 

This  style  is  really  engraving  in  tone,  and  the 
especial  qualities  of  mezzotint  are  richness  and  deli- 
cate gradation  and  the  painter-like  quality  which 
enables  the  engraver  to  work  much  in  the  same 
manner  as  the  painter  did  on  his  canvas.  He  can 
free  himself  from  the  shackles  of  lines  which  are  a 
conventional  method  to  suggest  colour  and  tone. 
Its  most  fitting  application  is  in  the  translation  of 
the  works  of  painters  which  depend  for  their  effect 
on  powerful  chiaroscuro.  It  is  eminently  fitted  to 
represent  portraits,  but  its  use  in  landscape  is 
restricted,  as  it  cannot  reproduce  the  crisp  and 
sparkling  character  of  foliage  nor  the  dazzling  high 
lights  of  an  open  scene,  but  it  can  and  does,  espe- 
cially under  the  master-hand  of  Turner,  give  a 
romantic  feeling  of  awesome  grandeur  to  landscape. 

The  inventor  of  mezzotint  was  Ludwig  von  Siegen, 
an  officer  who  had  been  in  the  service  of  the  Land- 
grave of  Hesse-Cassel.  He  settled  at  Amsterdam, 
and  his  first  plate,  executed  in  1642,  was  a  portrait 
of   the    Landgrave's    mother.     In    1654,   when    at 


240  CHATS   ON  OLD  PRINTS 

Brussels,  von  Siegen  communicated  his  invention 
to  Prince  Rupert,  who  upon  his  return  to  Eng- 
land discussed  its  merits  with  John  Evelyn,  whose 
"Sculptura"  in  1662  contains  the  first  account  in 
English  of  the  new  process.  Prince  Rupert  did 
some  fine  plates  in  mezzotint  himself,  notably  The 
Great  Executioner  after  Spagnoletto,  done  in  1658. 
The  selection  of  this  subject  by  the  nephew  of 
Charles  I.,  who  had  so  recently  been  executed,  is 
singular.  This  print  represents  a  tall  man  standing 
with  naked  sword  in  one  hand  and  holding  up  the 
head  of  St.  John  the  Baptist  in  the  other.  There  is 
a  smaller  plate  by  Prince  Rupert  of  the  head  only 
of  the  same  figure. 

The  early  exponents  of  the  art  were  William 
Sherwin  (1669-1714),  David  Loggan  (1635-1693), 
Francis  Place  (1647-1728),  Abraham  Blooteling 
(1634- 1 695),  and  John  Vandervaart  (i 647-1 721) 
with  his  splendid  portrait  of  the  Duke  of  Monmouth 
after  Wissing. 

By  this  time  not  only  had  the  art  taken  root  in 
England,  but  it  was  chiefly  practised  in  this  country, 
and  was  known  on  the  Continent,  in  France,  as  la 
maniere  anglaise  or  la  maniere  noire^  and  in  Germany 
as  schabkunst  (the  scraping  art),  or  schwarzkunst  (the 
black  art),  and  in  Italy  as  Vincisione  a  fumo  (en- 
graving in  smoke)  or  Vincisione  a  foggia  nera 
(engraving  in  the  black  manner).  It  takes  its 
stand  as  an  English  art.  During  the  early  eigh- 
teenth century  there  were  John  Smith  and  Jean 
Simon  both  doing  excellent  work,  followed  by 
G.  White,  who  introduced  etching  into   mezzotint 


From  a  Mezzotint  by  John  Smith,  after  Gerard  Dou. 
{Size  of  original  engraving  4I  /;;.  by  CJ  in.) 

ITo  face  fage  240. 


MEZZOTINT  ENGRAVING  24I 

in  the  outline  of  the  subject  prior  to  grounding  the 
plate,  a  practice  which  has  since  been  generally 
adopted. 

Of  the  work  of  John  Smith  there  is  a  great  variety 
for  the  collector  to  choose  from.  He  was  born  at 
Daventry  in  1652,  and  died  at  Northampton  in  1742. 
His  best  mezzotints  are  after  the  portraits  of  Sir 
Godfrey  Kneller.  As  far  as  the  prices  realised 
nowadays  for  mezzotints  his  work  affords  the  best 
value  for  money.  His  Sir  Christopher  Wren  and 
his  Sir  William  Petty  may  be  procured  in  fine  state 
for  £\  and  £2  respectively.  Wycherley  after  Lely 
may  be  bought  for  £2  los.  in  perfect  state.  His 
James  11.  (when  Duke  of  York)  leaning  on  an 
anchor,  is  worth  in  proof  state,  £%  and  his  Earl  of 
Ailesbury  after  Lely,  proof  state,  fetches  £\o  los. 
under  the  hammer,  but  there  is  his  Charles  XII.  of 
Sweden  to  be  bought  for  15s.,  and  many  of  his 
smaller  prints  for  considerably  less.  We  reproduce 
a  fine  specimen  of  his  work,  The  Jolly  Topers  after 
Gerard  Dou,  which  faithfully  renders  the  realism 
of  that  painter.     (Facing  p.  240). 

Peter  Pelham,  who  was  born  in  London  in  1684 
and  died  in  1738,  is  another  of  the  early  eighteenth- 
century  engravers  whose  work  may  fall  within  reach 
of  collectors  for  whom  this  volume  is  intended.  He 
engraved  the  portraits  of  George  I.  and  George  11,^ 
both  after  Kneller,  and  a  great  many  other  of  that 
painter's  subjects.  Many  of  his  mezzotints  may  be 
procured  for  less  than  a  sovereign  apiece,  and  often 
something  under  half  a  sovereign  will  buy  a  good 
specimen  of  his  work.     His  Oliver  Cromwell  after 

16 


;< 


242  CHATS   ON  OLD  PRINTS 

Walker  is  perhaps  his  best  work,  and  his  portrait 
of  Rubens  after  that  master's  canvas  of  himself  is 
another  deserving  of  mention.  We  give  a  repro- 
duction of  one  of  his  mezzotints  after  Sir  Godfrey 
Kneller's  portrait  of  The  Right  Honourable  Spencer 
Compton^  Baron  of  Wilmington^  which  is  a  pleasing 
piece  of  mezzotint  engraving,  faithful  to  the  work  it 
translates  and  typical  of  so  much  of  the  portraiture 
of  that  period.  Peter  Pelham  is  worthy  of  renown 
as  having  introduced  the  art  of  mezzotint  into 
America  in  1726. 

It  is  of  interest,  too,  to  note  that  three  engravers 
carried  the  art  to  Ireland — Thomas  Beard,  John 
Brooks,  and  Andrew  Miller — and  established  an  art 
centre  in  Dublin,  which  at  a  later  date  sent  forth  four 
illustrious  pupils — McArdell,  Houston,  Spooner,  and 
Purcell — who  added  lustre  to  the  glorious  period 
from  1770  to  1800,  when  the  finest  series  of  mezzo- 
tint portraits  ever  seen  were  scraped  after  Sir  Joshua 
Reynolds,  Romney,  and  their  contemporaries,  im- 
mortalising their  canvases  and  bringing  enduring 
renown  to  the  greatest  of  English  native  arts,  the 
art  of  engraving  in  mezzotint. 

John  Faber,  junior  (1684-1756),  is  the  last  of  the 
early  eighteenth-century  school  prior  to  the  great 
outburst  of  enthusiasm  and  unexampled  splendour 
of  the  days  when  superb  prints  after  Reynolds  and 
his  school  are  numbered  by  hundreds.  John  Faber 
the  elder  was  born  in  Holland  in  1660.  He  came  to 
this  country  and  was  one  of  the  earliest  engravers 
in  mezzotint.  He  died  at  Bristol  in  1721.  His 
plates   are  completely  overshadowed   by  the  work 


J 


y//t  '^/t! .  //<>// . .  //It  //( /  y  //  >ni/i/<  v/  v"!^ 


/////.. /,./  „7-//,4-  (/i,;j(i/.hr.</-//,i/,  •/ .  -O, /•////, 


^ 


/ir/rr/t  (•/  7/ ///////// 

/„,///■  "^ • 


THE  RIGHT  HONOURABLE  SPENCER  COMPTON,  BARON   OF   WILMINGTON. 

From  a  Mezzotint,  by  Peter  Pelham,  after  Kneller. 
{Size  of  original  engraving  lo  in.  by  13I  in.) 

An  enlargement  of  crease  at  elbow  appears  opposite  p.  50. 

[To  face  page.  242. 


•  s  •  •  •  • 


*  *        4     «« 

•  •       «>  "^^ 


MEZZOTINT  ENGRAVING  243 

of  his  son,  who  executed  one  hundred  and  sixty-five 
mezzotint  plates,  including  the  set  of  Kit-cat  por- 
traits and  the  Hampton  Court  beauties,  and  a  crowd 
of  other  portraits,  as  well  as  some  fancy  subjects 
after  Mercier.  His  plate  after  the  picture  by  Frans 
Hals  of  a  Man  Playing  a  Guitar  is  a  splendid  piece 
of  work.  But  all  his  portraits  are  sought  after  and 
he  ranks  high  in  the  estimation  of  the  collector, 
although  it  must  be  stated  that  the  prices  of  his 
work  place  it  within  reach  of  the  astute  bargain- 
hunter,  as  dozens  of  his  prints  cost  no  more  than 
a  sovereign  apiece.  The  illustration  (facing  p.  244) 
of  one  of  his  plates,  the  Portrait  of  Richard  Boyle^ 
Viscount  Shannon^  clearly  shows  the  extensive  use 
of  etching.  It  was  this  nobleman  who  added  the 
colonnade  to  Burlington  House,  built  by  his  father, 
and  on  being  asked  why  he  built  his  town  mansion 
"out  of  town,"  replied  that  he  was  determined  "to 
have  no  building  beyond  him."  Now  commissions 
sit  to  discuss  the  state  of  the  congested  traffic  on 
either  side  of  the  house  in  Piccadilly. 

With  deft  and  patient  and  almost  tedious  labours, 
the  mezzotint  engraver  works  from  dark  to  light 
and  reproduces  by  means  of  the  scraper  and 
the  burnisher  the  tone  effects  of  the  painter  with 
his  colours. 

The  delightful  Portrait  of  Addison  after  Kneller, 
engraved  by  J.  Smith,  which  we  place  in  juxtaposi- 
tion with  that  of  Robert  Boyle^  shows  a  mezzotint 
portrait  finished  in  elaborate  manner,  delicate  in  its 
details  and  strong  in  its  contrasts. 

Mezzotint  came  into  its  own  with  the  advent  of 


244  CHATS   ON  OLD  PRINTS 

James    McArdell  (1729-1765),  who,  with   his   mag- 
nificent plate  of  Lady  Grammont,  "  La  Belle  Hamil- 
ton," after  Sir  Peter  Lely,  showed  the  possibilities  of 
the  art.     His  Mrs.  Middleton  after  the  same  painter 
is   another   masterpiece.     Richard    Houston   (1722- 
1775)  has   left  two   superb  plates   after  Sir  Joshua, 
The  Countess  of  Waldegrave  and  Her  Daughter  and 
Kitty  Fisher.     Thomas  Frye  (17 10-1762)  is  one  of 
the  Dublin  group  of  engravers  ;  he  had  a  varied  art 
career.     He  established  the  Bow  china  factory,  cind 
later  had  a  great  many  fashionable  patrons  who  sat 
to  him  for  miniatures  and  oil  portraits  at  his  house 
at  Hatton  Garden.     He  engraved  two  series  of  life- 
size  heads  such  as  Young  Girl  Holding  up  a  String  of 
Pearls^  Young  Man  with  Lighted  Candle  by  His  Side,, 
together  with  his  own  portrait,  and  those  of  George  HLy 
Queen  Charlotte^  and  many  others. 

In  the  space  at  our  disposal  we  can  do  little  more 
than  mention  the  most  prominent  engravers  of  this 
great  period.     The  prices  of  nearly  all  the  mezzo- 
tints  done   by   these   men   are   very   great,  and   to 
collect  mezzotints  is  quite  beyond  the  purse  of  the 
ordinary  man.     In  general,  portraits  of  ladies  bring 
greater  prices  than  those  of  men,  but  even  the  latter 
are  nowadays  coming  within  the  whirl  of  fashionable 
collecting,  and  the  prices  realised  under  the  hammer 
make    it   impossible    to    become    the    possessor   of 
masterpieces  of  the  art  of  mezzotint  except  at  top 
prices. 

The  name  of  Valentine  Green  (1739-18 13)  stands 
high  in  the  estimation  of  connoisseurs.  Some  of  his 
prints,  particularly  those  after    Reynolds,   sell    for 


e 

-a 

t 

u 

^ 

e5 

« 

•5 

^ 

H 

"^ 

S 

_s 

O) 

^ 


MEZZOTINT  ENGRAVING  245 

enormous  sums.  He  executed  some  four  hundred 
plates,  and  among  the  best  known  we  may  mention 
the  following,  and  the  prices  they  have  brought  at 
auction  will  show  the  high  esteem  in  which  he  is 
held  : — The  Ladies  Waldegrave^  first  state,  ^236  5s. ; 
Lady  Elizabeth  Comptotiy  £2ZZ  15s.;  Lady  Betty 
Delme  and  Children^  first  state,  £\QO\  Lady  Louisa 
Manners^  first  state,  £id^\    iSs. ;   Lady    Townshendy 

John  Raphael  Smith  (1730-18 12)  engraved  a 
variety  of  subjects  after  Morland  and  a  great 
many  portraits  after  Reynolds.  His  prices  are  not 
so  high  as  those  realised  by  Valentine  Green,  but 
they  are  sufficiently  high  to  be  impossible  to  the 
tyro.  Mrs.  Carnac^  ist  state  brings,  ;^205.  To  show 
the  minute  scientific  exactitude  which  governs  the 
collecting  of  "  states  "  and  the  awful  gulf  between 
one  state  and  another  in  market  value,  it  is 
interesting  to  note  that  this  same  print,  in  proof 
impression,  is  only  worth  £^6\  and  again  when 
lettered,  although  still  very  fine,  £^2  lis. 

James  Watson,  born  in  Ireland  in  1740,  was 
another  exquisite  and  finished  engraver  in  mezzotint. 
His  prices  fall  short  of  those  we  have  quoted,  but  are 
still  prohibitive.  His  states  are  extremely  compli- 
cated, as  he  left  many  plates  unfinished  and  com- 
menced the  subject  on  a  new  sheet  of  copper. 
He  died  in  London  in  1790.  His  daughter, 
Caroline  Watson  (1760-18 14),  carried  on  her  father's 
traditions  in  mezzotint,  and  in  addition  engraved  in 
stipple.  Thomas  Watson  (i  743-1 781),  no  relation 
to   the   above,  did   some  fine  work  after  Reynolds, 


246  CHATS  ON  OLD  PRINTS 

his  Catherine^  Lady  Bamphylde^  is  a  masterly  plate, 
and  in  first  state  has  brought  ;f357  los.,  in  third 
state  ;^43. 

To  continue  the  list : — William  Ward,  John  Dean, 
a  delicate  translator  of  Gainsborough,  too  rarely 
rendered  into  mezzotint,  John  Greenwood,  Edward 
Fisher,  John  Jones,  David  Martin,  William  Pether, 
William  Dickinson,  James  Walker,  John  Young,  and 
Richard  Earlom. 

This  is  not  the  place  to  dwell  upon  the  qualities  of 
individual  engravers  nor  to  enumerate  the  names 
of  those  who  practised  the  art  during  the  latter 
years  of  the  eighteenth  century :  there  were  a 
hundred  engravers  who  produced  work  after  the 
canvases  of  Sir  Joshua  Reynolds,  and  there  were 
innumerable  translations  of  the  wonderful  landscapes 
and  subjects  of  Morland.  The  styles  of  these  two 
artists  are  especially  fitted  to  be  rendered  into 
mezzotint,  as  their  loose  broad  brush  work  and 
flowing  masses  of  colour  lend  themselves  naturally 
to  a  treatment  so  akin  to  their  own,  where  the 
artist  in  metal  depended  for  his  effects  on  striking 
contrast  and  chiaroscuro. 

The  large  field  of  mezzotint  need  not  frighten  the 
beginner  who  feels  himself  naturally  attracted 
thereto ;  he  need  not  approach  it  in  the  spirit  that 
some  people,  according  to  Hazlitt,  "talk  of  the 
allegory  in  Spenser's  *  Faerie  Queene '  as  though  they 
feared  it  would  bite  them."  The  intricacies  of  this  art 
of  engraving  are  many,  but  patient  study  in  the  gallery 
of  framed  mezzotints  hanging  in  the  British  Museum 
will  elucidate  much  that  is  obscure,  and  a  ticket  to 


MEZZOTINT  ENGRAVING  247 

the  Print  Room  will  open  vistas  of  as  wide  expanse, 
"like  stout  Cortez,  when  with  eagle  eyes  he  stared 
at  the  Pacific."  A  permanent  picture  gallery  exists, 
too,  in  the  old  printsellers'  windows  in  London  and 
other  great  cities,  where  fine  examples  are  exposed 
for  sale,  and  many  happy  and  envious  moments  may 
be  passed  in  contemplating  these  masterpieces  of  the 
eighteenth  century. 

Richard  Earlom  (1743-1822)  employed  etching  in 
skilful  manner  in  his  subjects  after  various  masters. 
This  use  of  etching  had  by  this  time  become 
universal  in  mezzotint,  and  in  the  series  by  Earlom 
after  Claude's  Liber  Veritatis  he  was  the  father  of 
the  nineteenth-century  school  of  mezzotint  engravers 
of  landscape. 

This  school  of  landscape  mezzotints  produced 
some  fine  work.  We  reproduce  a  print  from  S.  W. 
Reynolds  after  the  painting  of  Richard  Wilson, 
whose  imaginative  and  romantic  stilliness  and  ruined 
castles  and  dreamy  expanses  claim  kinship  with  the 
classic  style  of  Claude.  The  Distant  View  of  Rome 
from  Tivoli  after  Poussin  is  by  the  same  engraver. 
(Facing  p.  248). 

But  at  the  head  of  the  nineteenth-century  school 
of  landscape  in  mezzotint  stands  Turner  with  his 
Liber  Studiorum,  Turner  etched  the  leading  theme 
of  the  plate,  and  in  some  instances  worked  upon  it 
himself  in  mezzotint  before  it  passed  from  his  hands 
to  his  engravers,  but  he  always  exercised  a  firm 
control  over  every  detail  they  wrought  on  his  plates. 

As  we  have  indicated  in  the  previous  chapter,  the 
Liber  is  a  study  in  itself.     The  plates  were  engraved 


248  CHATS   ON  OLD  PRINTS 

in  mezzotint  under  his  supervision  by  Charles 
Turner,  WilHam  Say,  Dunkarton,  Clint,  Easling, 
Dawe,  Lupton,  S.  W.  Reynolds,  Hodgetts,  and 
F.  C.  Lewis.  The  price  of  these  plates  varies  from 
two  to  three  guineas  to  twelve  to  fifteen  guineas 
apiece.  It  is  here  that  mezzotint  achieved  a  new 
distinction  in  rendering  with  wonderful  gradation  of 
tone  the  romantic  effects  of  landscape.  The  Liber 
stands  as  the  greatest  achievement  in  landscape 
executed  in  mezzotint.  To  Irish  readers  there  is  for 
study  the  fine  collection  of  the  prints  generously 
presented  by  Mr.  Stopford  Brooke  to  the  National 
Gallery  in  Dublin,  and  in  London  the  working 
drawings  by  Turner  repose  in  the  basement  of  the 
National  Gallery.  We  make  the  suggestion  that 
this  series  of  sketches  in  sepia  would  better  serve 
its  purpose  and  be  of  greater  educative  value  if 
adjacent  to  each  drawing  a  print  of  the  same  subject 
were  framed. 

Turner's  "  Harbours  of  England,"  a  dozen  in 
number,  engraved  by  T.  Lupton,  with  text  by 
Ruskin,  appeared  in  1856.  The  "River  Scenery" 
is  a  set  of  eighteen  plates  after  Turner  and 
Girtin,  engraved  by  Lupton,  C.  Turner,  Phillips, 
W.  Say,  J.  Bromley,  and  S.  W.  Reynolds.  Open- 
letter  proofs  of  this  series,  dated  1827,  may  be 
bought  separately  at  about  six  shillings  each.  Next 
to  the  Liber  this  is  the  finest  mezzotint  landscape 
series  ever  issued.  Fifteen  plates  are  after  Turner 
and  three  after  Girtin.  Arundel  Castle  is  the  scarcest 
of  them  all,  and  fetches  a  guinea  ;  early-print  impres- 
sion, Norham    Castle^   lettered,   India-proof,  half  a 


DISTANT  VIEW   OF   ROME   FROM   TIVOLI, 

From  a  Mezzotint  Engraving  by  S.  W.  Reynolds,  after  Gasper  Poussin. 

(Size  of  original  engraving  5^  in.  by  8  in.) 


MORNING. 

From  a  Mezzotint  Engraving  by  S.  W.  Reynolds,  after  Ricliard  Wilson. 

(Size  of  original  engraving  sk  iti-  by  7|  in.) 

[To  face  fage  248. 


MEZZOTINT  ENGRAVING  ^49^ 

guinea  ;  and  prints  are  procurable  for  a  less  sum. 
But  the  beginner  should  be  very  careful  what  prices 
he  pays  for  Turner,  and  never  attempt,  on  his  own 
judgment,  to  pick  up  bargains,  as  the  number  of 
states  is  legion  and  bargains  are  rare. 

For  instance,  how  is  the  tyro  to  distinguish 
between  the  "Ports  of  England,"  a  set  of  six 
plates  published  by  Turner  himself  in  1826,  en- 
graved by  Lupton  (size  about  6J  in.  by  9  in.)  on 
India-paper,  and  the  later  edition  with  the  title 
changed  into  "  Harbours,"  when  he  is  purchasing 
single  plates? 

We  have  alluded  to  S.  W.  Reynolds,  whose 
sudden  death  in  1835  induced  his  son  of  the 
same  name  to  forsake  painting  to  complete  some 
of  his  father's  plates,  after  which  he  himself 
practised  mezzotint  with  great  success.  The  father, 
passing  through  Exeter,  saw  in  a  shop  window  some 
drawings  for  sale  by  a  lad  named  Samuel  Cousins. 
He  was  so  struck  with  the  work  that  he  brought 
Cousins  to  London  as  his  pupil.  Samuel  Cousins 
became  a  fine  mezzotint  engraver,  who  interpreted 
the  portraits  of  Sir  Thomas  Lawrence  in  a  style 
he  made  his  own.  He  employed  etching,  stipple, 
and  dry  point  in  conjunction  with  mezzotint,  and 
was  not  alone  in  his  use  of  what  is  known  as 
"mixed  mezzotint,"  which,  when  pushed  to  its 
uttermost  limits,  supplemented  by  mechanical  means 
of  producing  effects,  helped  to  kill  mezzotint  en- 
graving in  the  middle  of  the  nineteenth  century. 
Among  the  best  known  of  the  mezzotints  of  Cousins 
are  Master  Lambtofiy  Countess  of  Blessington^  Lady 


250  CHATS   ON   OLD   PRINTS 

Acland  and  Children^  all  after  Sir  Thomas 
Lawrence. 

It  should  be  mentioned  that  in  1820  William 
Say  engraved  a  portrait  in  mezzotint  of  Queen 
Caroline  wrought  upon  steel.  Hitherto  copper  only 
was  used.  In  1822  T.  Lupton  obtained  1,500  prints 
from  a  steel  plate,  and  received  the  gold  medal  of 
the  Society  of  Arts  for  his  invention.  Mezzotints 
on  steel  are  therefore  a  feature  of  early  nineteenth- 
century  days  after  1820. 

John  Constable,  son  of  a  Suffolk  miller,  studied 
the  wayward  moods  of  Nature  with  hardly  less 
thoroughness  than  Turner  himself  He  was  never 
enthralled  in  the  meshes  of  classicism,  and  deliberately 
avoided  the  temple  and  the  conventional  brown  tree. 
His  foliage  for  the  first  time  in  England  was  as 
green  as  Nature  herself.  In  France  even  more  than 
in  England  his  work  found  early  recognition,  and  in 
the  Salon  of  1824  his  Hay  Wain  and  his  Lock  on 
the  Stour  created  a  profound  sensation,  which  did 
not  a  little  towards  turning  French  artists  to  Nature. 
The  Barbizon  school  owes  much  to  Constable. 

Constable  found  an  interpretative  engraver  in 
David  Lucas.  The  first  series  of  "  English  Land- 
scape "  consisted  of  twenty-one  plates,  and  may 
be  procured  in  open-letter  proof  state  for  about 
eight  guineas.  From  this  series  (i 830-1 832)  we 
reproduce  two  illustrations.  Spring  ^.n^  Noon.  Of  the 
former  a  portion  has  been  enlarged  (opposite  p.  50). 
Many  of  these  proofs,  as,  for  example,  the  engraver's 
proof  of  Salisbury  Cathedral  (before  the  rainbow) 
are  worth  four  or  five  guineas.    A  Heath  (Hampstead, 


SPRING. 

From  a  Mezzotint  by  David  Lucas,  after  Constable. 
(Size  of  original  etzgraving  5  in.  by  9^  in.) 
An  enlargement  of  a  portion  of  this  appears  opposite  p.  50. 


NOON. 


From  a  Mezzotint  by  David  Lucas,  after  Constable. 

{Size  of  original  engraving  3|  in.  by  8|  in.) 

\To  face  page  250- 


MEZZOTINT  ENGRAVING  2$ I 

storm  approaching)  varies  in  price ;  the  engraver's 
proof  before  the  addition  of  the  dog  sells  for  four 
guineas,  the  same  proof  after  the  addition  brings 
only  three. 

Engraver's  trial  proofs  are  interesting,  no  doubt, 
but  they  ought  not  to  be  sought  after  by  the 
collector  and  lauded  above  all  other  proofs.  Of 
course,  they  are  necessarily  few  in  number,  and  in 
consequence  the  moneyed  amateur  must  have  them 
at  any  cost.  But  as  works  of  art  they  are  less 
valuable  than  the  last  stage  of  the  print — we  mean 
that  stage  that  the  engraver  intended  to  give  to  the 
world  as  a  finished  result.  It  would  no  doubt  be 
interesting  if  one  could  peel  off  the  various  layers 
of  paint  on  many  a  masterpiece  and  exhibit  the 
picture  in  the  stages  of  its  progress.  But  it  is 
the  picture  as  it  left  the  artist's  easel  that  is  the 
man's  message  to  posterity.  The  rough  drawings 
hoarded  by  collectors  are  rare  and  unique.  They 
are  invaluable  in  suggestion  to  artists,  they  serve 
to  show  the  first  ideas  that  grew  into  shape,  but 
for  the  ordinary  man  not  a  specialist  in  technique 
nor  a  collector  determined  to  run  a  hobby  to  death 
the  state  issued  to  the  public  is  good  enough. 

It  should  be  mentioned  that  the  mezzotints  in  the 
series  issued  in  parts  by  Constable  measure  6  in.  by 
9  in.  in  size.  Lucas  at  his  own  risk  issued  six  larger 
plates  from  Constable's  works  (lof  in.  by  14  in.),  and 
he  also  brought  out  The  Cornfield  and  The  Lock 
(22f  in.  by  19!  in.)  in  1834.  After  Constable's  death 
fourteen  plates  of  the  smaller  size  were  issued  to 
complete  the  series  he  had  contemplated. 


25;2:  CHATS   ON  OLD  PRINTS 

In  1832  Constable,  in  sending  a  parcel  of  prints 
to  a  kinsman,  writes  respecting  the  open-letter  proofs 
on  India-paper  and  the  ordinary  prints,  of  which  he 
sends  a  selection,  that  they  are  both  "  equally  good, 
for  all  are  printed  by  ourselves."  Lucas  had  a 
printing-press  fitted  up  in  his  own  house.  We 
commend  this  opinion  of  the  artist  to  connoisseurs 
who  are  learnedly  obscure  concerning  Constable's 
states,  and  evidently  see  more  in  them  than  did  the 
artist ;  it  is  the  old  story  of  the  Browning  Society 
over  again. 

In  all,  this  little  series  of  twenty-one  mezzotints, 
done  by  Lucas  under  the  artistic  supervision  of 
Constable,  stands  as  a  monument  to  the  memory 
of  the  artist  who  caught  the  fleeting  glory  of  the 
Suffolk  lowlands.  The  prints  are  all  delectable — 
the  vale  of  Dedham,  the  winding  Stour,  Helmingham 
Park,  Stoke-by-Neyland,  or  the  silvery  stretches  of 
the  Orwell.  The  son  of  a  miller,  he  learned  to 
interpret  the  message  of  the  wind.  The  flying  packs 
of  clouds  stretched  across  the  sky  and  the  sparkle 
of  the  sunlit  trees,  with  deft  brush  he  transferred 
to  his  canvases.  He  complained  that  artists  drew 
windmills  that  would  not  turn  round.  He  says  "a 
miller  could  tell  not  only  what  they  were  doing 
inside,  but  the  direction  and  force  of  the  wind 
blowing  at  that  time  by  the  shapes  of  the  vanes 
and  the  sails."  His  Mill  near  Brighton  is  a  splendid 
mezzotint  sparkling  with  light  and  suggestive  of 
the  breezy  downs,  and  his  Yarmouth  brings  him  and 
his  engraver  into  touch  with  Nature  in  her  transitory 
radiance. 


XIII 

AQUATINT 

AND 

COLOUR   PRINTS 


CHAPTER  XIII 

AQUATINT    AND    COLOUR    PRINTS 

The  technique  of  aquatint — Its  introduction  into  England 
— Paul  Sandby  executes  the  first  English  aquatint  in 
1774 — Its  possibilities  — Eighteenth-century  colour 
prints — Stipple  engravings,  mezzotints,  and  aqua- 
tints printed  in  colour — Nineteenth-century  colour 
printing  in  lithography  —  Baxter  colour  prints  — 
Wood  engravings  in  colour — The  folly  of  fashionable 
collectors. 

The  Technique  of  Aquatint. — Aquatint  comes  in  the 
history  of  the  evolution  of  engraving  as  a  link 
between  mezzotint  and  lithography.  It  supplanted 
stipple  in  the  representation  of  figure,  and  was 
especially  adapted  for  series  of  views  of  topographical 
and  architectural  subjects,  and  was  a  ready  means 
of  producing  coloured  caricatures.  As  many  as  a 
couple  of  thousand  impressions  have  been  taken  from 
one  plate.  In  England  aquatint  has  been  devoted 
mainly  to  landscape,  but  in  France  many  splendid 
portraits  were  done  in  this  manner.  The  technique 
of  aquatint  is  not  an  easy  one  to  acquire.     As   in 

255 


256  CHATS   ON   OLD  PRINTS 

mezzotint,  a  "  ground  "  has  first  to  be  laid,  and  all 
the  quality  of  the  plate  depends  upon  the  manner 
in  which  this  is  done  and  the  scrupulous  care 
with  which  the  copper  plate  has  been  previously- 
polished. 

In  France,  the  original  home  of  aquatint,  a  "  dust " 
ground  is  laid,  but  in  England  a  "  spirit "  ground  is 
the  most  usual  method.  In  the  former  a  specially 
constructed  box  is  set  in  motion  after  being  partly 
filled  with  finely-powdered  resin.  Into  this  chamber 
charged  with  resin  dust  the  copper  plate  is  placed  so 
that  an  even  deposit  may  fall  upon  its  surface.  On 
the  withdrawal  of  the  plate  it  is  heated  so  that  the 
particles  of  dust  adhere  to  its  face.  It  is  then  ready 
for  the  next  stage. 

In  England  the  same  result  is  obtained  by  covering 
the  copper  plate  with  a  solution  of  resin  dissolved 
in  spirits  of  wine.  In  evaporation  the  liquid  leaves 
the  resin  spread  evenly  on  the  plate  in  granular  form. 
This,  then,  is  the  process  of  laying  the  ground  for 
aquatint.  The  success  of  the  plate  depends  upon 
the  minute  grains  of  resin  being  of  the  same  size. 
But  the  difficulties  attendant  upon  this  first  process 
are  not  easily  overcome,  in  cold  weather  the  resin 
will  not  granulate,  and  it  is  equally  obstinate  in  very 
hot  weather.  Dampness  in  the  air  is  again  a  factor 
in  producing  erratic  results,  so  that  it  will  readily  be 
seen  that  this  first  operation  of  aquatint  becomes  a 
highly  skilled  operation  in  which  the  resources  of 
science  have  to  be  employed. 

The  margin  of  the  plate  is  varnished  or  "  stopped 
out,"  and  it  is  usual  to  leave  a  small  strip  at  the  side 


AQUATINT  AND   COLOUR  PRINTS  2$^ 

of  the  plate  unstopped  in  order  to  gauge  the  result 
of  the  various  bitings.  The  method  subsequently 
pursued  is  very  similar  to  that  used  by  etchers 
(described  p.  6i),  and  a  series  of  bitings  and 
stoppings-out  develop  the  design  towards  its  com- 
pletion. To  know  the  exact  number  of  minutes 
to  allow  the  acid  to  bite  is  one  of  the  greatest 
difficulties  in  aquatint  engraving.  It  varies  very 
surprisingly  even  under  apparently  the  same  con- 
ditions of  temperature  and  requires  long  experience. 
During  its  various  stages  the  stronger  portions  of 
the  foliage  and  the  dark  portions  standing  against 
the  sky  are  painted  over  to  preserve  their  form  and 
facilitate  the  stopping  of  the  sky.  Sometimes  a  plate 
is  completed  with  one  ground  after  a  dozen  bitings, 
but  not  infrequently  a  second  ground  is  laid  on  parts 
requiring  deeper  biting,  and  etching  is  resorted  to 
in  the  case  of  the  strongest  black  lines.  In  practice 
aquatint  engraving  resembles  drawing  in  Indian  ink. 
Each  time  the  aquafortis  is  put  on  the  plate  a  new 
tint  is  produced,  and  as  each  part  of  the  design  is 
considered  dark  enough  it  is  stopped  out.  By  the 
use  of  a  brush  dipped  in  aquafortis  the  finishing 
touches  are  given  to  darken  certain  lightly-bitten 
parts,  and  this  "  feathering"  has  to  be  most  delicately 
performed,  or  a  false  touch  will  ruin  the  whole  plate. 
To  lighten  other  portions  they  are  burnished.  It  will 
thus  be  seen  how  complicated  a  process  aquatint 
engraving  is,  and  its  wider  use  was  no  doubt 
restricted  by  its  technical  difficulties  which  no 
amateur  could  attempt. 

Jean   Baptiste  Le  Prince,   a  French   painter  and 
17 


258  CHATS   ON  OLD  PRINTS 

etcher,   pupil    of    Boucher,   was   the   first   to   make 
aquatint  known.     His  first  plate  was  executed  about 
1750,  and  there  is  a  little  volume  published  in  1768 
representing   coiffures   drawn  from   life   and  grav^e 
a  Caqua-tinte.     The   Hon.  Charles  Greville  brought 
the  secret  to  this  country  and  communicated  it  to 
Paul  Sandby,  who  was  the  first  to  add  a  touch  of 
poetry  to  the  topographical  drawings  then  so  much 
in  vogue.     His  aquatints  were   very  numerous  and 
very  popular.    Many  series  of  publications  of  scenery 
and  costume  illustrated  in  this  style  were  published 
at  the  opening  years  of  the  nineteenth  century  by 
Ackerman    and    Orme.     Among    the    best    known 
^       engravers  in  aquatint  must  be  mentioned  Thomas 
Malton  (1748- 1 804),  who  produced  plates  of  the  chief 
buildings  of  London ;  Joseph  C.  Stadler,  a  German, 
working  in   England,  who  executed   plates   of  the 
London  bridges  and  six   plates  of  the  Picturesque 
Scenery  of  Great    Britain   after    Loutherburg,    The 
Cathedral  at    Ulm   after   Prout   (22   in.   by  17   in.), 
coloured  by  hand,  is  a  fine  specimen  of  his  aquatint 
work.     F.  C.  Lewis  (1779-18 56),  a  pupil  of  Stadler, 
in  addition  to  his  fine  stipple  work  after  Lawrence, 
did   some  fine   aquatint   plates.     We   reproduce   an 
example  of  aquatint  executed  by  F.  C.  Lewis,  after 
a  drawing  by  J.  Varley,  and  it  will  be  seen,  even 
through  the  medium  of  a  half-tone  block  illustration, 
that  the  art  of  aquatint  is  capable  of  some  powerful 
effects. 

In  regard  to  figure  in  combination  with  land- 
scape the  accompanying  reproduction  of  an  aquatint 
by  J.    Hassall,   "Published   Aug.   i,   1812— No.    11, 


i 


From  an  Aquatint  engraving  by  J.  Hassall,  after  a  drawing 
by  Wheatley. 
(Size  of  original  engraving  5|  in.  by  5|  in.) 


From  an  Aquatint  Engraving  by  F.  C.  LEWIS,  after  a  Drawing  by  J.  Varley. 
{Size  of  original  engraving  7j  in.  by  loj  in.) 

[To  face  page  258. 


AQUATINT  AND   COLOUR  PRINTS  259 

Clement's  Inn,"  shows  the  dainty  elegance  of  the 
style  at  its  best.  The  subject  is  from  a  drawing 
by  Wheatley,  whose  rustic  figures  and  masterly 
picturesqueness  do  not  fall  very  far  short  even  of 
Morland  himself. 

Thomas  Sutherland  is  another  engraver  in  aquatint 
who  is  chiefly  remarkable  for  his  hunting  and  sport- 
ing subjects  after  Aiken,  printed  in  colour,  which 
fetch  high  prices.  The  Peacock  Tavern^  Islington, 
an  old  coaching-house  on  the  Northern  Road,  is  one 
of  his  best-known  plates.  There  is  a  pretty  series 
of  aquatints  after  David  Cox,  which  may  be  pur- 
chased at  ridiculously  small  prices  by  the  collector, 
many  of  them  at  a  couple  of  shillings  apiece. 
Twilight, —  WaTwick  Castle  (i  3I  in.  by  9  in.) ;  Morning, 
— Eton  College;  Noon, — Llanilted  Vale,  North  Wales; 
Sheepshearing, — Surrey  ;  Storm, — Coast  of  Hastings  ; 
Hazy  Morning  and  Mid-day  (two  on  one  plate), 
Mid-day, — Scene  in  a  Hayfield  (9J  in.  by  7  in.) — all 
engraved  in  aquatint  by  Reeve.  The  following  four. 
Moonlight,  a  view  on  the  Thames  near  Chertsey 
(11 J  in.  by  /J  in.),  and  A  Calm, — Hastings  Fishing 
Boats  (11  in.  by  7 J  in.),  by  Reeve,  both  coloured  by 
hand,  and  Mid-day, — The  Cornfield  {16^  in.  by  7 J  in.), 
an  aquatint  by  Havell,  also  coloured  by  hand,  are 
worth  a  good  deal  more  than  the  six  or  seven 
shillings  usually  asked  for  them. 

In  regard  to  the  use  of  aquatint.  Turner  eschewed 
its  appearance  in  his  Liber  in  lieu  of  the  stronger 
mezzotint.  In  Dunstanborough  Castle,  drawn  and 
etched  by  him,  he  wrote  on  the  first  proof  submitted 
to  him  by  the  engraver,  Charles  Turner,  who  used 


260  CHATS   ON  OLD  PRINTS 

aquatint  in  the  upper  half  of  the  plate  and  mezzotint 
in  the  lower  part,  "  Sir,  you  have  done  in  aquatint  all 
the  castle  down  to  the  rocks  ;  did  I  ever  ask  for  such 
an  indulgence  ?  "  But  Turner  was  engraved,  and  ably 
engraved,  in  aquatint  by  the  French  engraver,  M. 
Brunet-Debaines,  in  his  plates  after  Turner,  and 
Agrippa  Landing  with  the  Ashes  of  Germanicus  is  an 
especially  good  example.  Others,  too,  have  produced 
many  aquatints  coloured  by  hand  after  Turner.  The 
coloured  aquatint,  View  near  Plynlimmon  (5  in.  by 
9f  in.)  sells  for  £2  2s.  although  it  is  unsigned  work. 

The  subject  of  aquatint  is  one  which  is  too  little 
regarded  by  leading  authorities  on  print  collecting, 
and  as  a  somewhat  neglected  field  it  offers  to  the 
discriminating  collector  an  opening  in  the  domain 
where,  "  armed  with  red  gold  and  clutching  at  each 
other's  throats,"  the  crowd  of  snatchers  at  names  and 
"  states "  let  pass  as  of  no  market  value  the  uncon- 
sidered gems  of  the  masters  of  aquatint. 

The  homely  landscape  in  brown  tint  and  the 
delicately  coloured  scene  have  many  points  to 
recommend  them  to  lovers  of  Art,  and  in  point  of 
beauty  and  exquisite  grace  many  of  these  dainty 
aquatints  snatch  the  laurels  from  more  pretentious 
colour  prints  of  various  schools  and  are  as  diverse  in 
character  from  each  other  as  is  the  work  of  Morland 
and  Cosway. 

In  passing,  something  should  be  said  of  work  of 
the  nature  of  C.  M.  Metz,  an  eminent  engraver  in  the 
chalk  manner  and  in  aquatint.  He  was  born  at  Bonn 
in  1755  and  studied  in  London  under  Bartolozzi 
He  is  best  known  by  his  wonderful  facsimile  engrav-; 


From  Engravings  by  C.  Metz,  after  Drawings  by  Parmegiano. 

[To  face  page  260. 


AQUATINT  AND   COLOUR  PRINTS  26 1 

ings  reproducing  the  characters  of  the  drawings  of 
the  old  masters,  of  which  he  published  a  large 
number.  In  dealing  with  prints  of  this  nature  we 
are  approaching  a  stage  when  aquatint  was  used  as 
an  adjunct.  Successive  blocks  were  frequently  used 
to  produce  intricate  effects.  But  in  the  result  as 
shown  by  the  examples  here  illustrated  from  prints 
by  C.  M.  Metz,  executed  by  him  after  drawings  by 
Parmegiano,  they  are  printed  in  a  warm  brown 
colour  and  faithfully  reproduce  the  old  master's 
touch. 

Before  leaving  aquatint  we  illustrate  two  views, 
one  of  The  Wrekin,  Shropshire^  and  the  other  of 
Marsden  {Yorkshire)^  "published  by  Mr.  Dibdin  in 
1802."  These  have  an  especial  interest.  We  know 
the  author  of  "  Tom  Bowling "  and  the  score  of 
ringing  songs  for  sailormen,  of  ditties  concerning 
"Lovely  Nan"  and  "Blue-eyed  Patty,"  of  the  "Jolly 
Young  Waterman"  who  "at  Blackfriars  Bridge  used 
for  to  ply,"  of  "  Tom  Tough  "  and  "  Tom  Truelove," 
who  talked  naval  Kiplingese  of  eighteenth -century 
flavour,  and  who,  between  the  turn  of  a  quid  of  pigtail 
from  one  cheek  to  the  other,  gave  forth  utterances 
like  these — "  Go  patter  to  lubbers  and  swabs,  d'ye 
see,  'bout  danger  and  fear  and  the  like."  We  must 
quote  a  stanza,  for  Dibdin  is  not  so  well  known  as 
he  was  once  : — 

"Why,  I  heard  the  good  chaplain  palaver  one  day, 
About  souls,  heaven,  mercy  and  such  ; 
And  my  timbers  !  what  lingo  he'd  coil  and  belay, 
Why,  'twas  just  all  as  one  as  high  Dutch : 


262  CHATS    ON   OLD  PRINTS 

But  he  said  how  a  sparrow  can't  founder,  d'ye  see, 
Without  orders  that  come  down  below ; 

And  many  fine  things,  that  proved  clearly  to  me 
That  Providence  takes  us  in  tow." 

But  who  would  suspect  the  author  of  these  lines 
to  have  been  a  painter,  too  ?  It  appears  that  he 
occasionally  practised  art  as  a  lover  of  nature,  and 
from  a  series  of  views  of  Lake  Scenery  after  his 
drawings,  John  Hill  engraved  some  very  fair  aquatint 
plates.  The  two  ovals  we  reproduce  have  therefore 
an  added  attraction  as  aquatints. 

Printing  in  Colour. — The  reader  who  has  reached 
v  this  point  in  the  volume  will  have  mastered  the 
theory  underlying  all  engraving  that  it  is  the  inter- 
pretation of  the  drawings  or  pictures  in  colour  of 
other  men  by  the  engraver  or  etcher  into  black  and 
white.  In  its  highest  form  where  painters  were 
engravers  too,  such  as  the  seventeenth-century  Dutch 
school  of  etchers,  or  in  the  French  school  of  Nanteuil 
and  Masson,  or  in  the  old  masters  of  the  Italian 
school,  the  engraver  drew  straight  on  to  the  copper 
and  produced  original  work.  But  for  the  most  part 
engravers  were  translators  of  other  men's  work  in 
colour,  translating  the  masses  of  colour  on  the  canvas 
of  the  painter  into  the  terms  of  engraving  by  means 
of  lines,  by  means  of  dots,  or  by  means  of  engraving 
in  tone  as  in  mezzotint  and  aquatint. 

Upon  the  introduction  of  stipple  engraving,  the 
pernicious  method  of  using  brown  and  red-brown 
ink  for  printing  the  delicate  fancy  subjects  and  the 
finnicking     pseudo- classical     figures     of     Angelica 


MARSDEN,   YORKSHIRE. 


THE    VVREKIN,    SHROPSHIRE. 
From  Aquatint  Engravings  by  John  Hill,  after  Drawings  by  Dibdin. 

An  enlargement  of  a  fortion  of  this  lower  print  appears  opposite  p.  54. 

[To  face  page  262. 


AQUATINT  AND   COLOUR  PRINTS  263 

Kaufmann  and  others  crept  into  practice.  It  must 
be  admitted  that  considerable  softness  resulted  from 
the  use  of  these  inks,  but  the  work  lost  considerably 
in  tone  values,  and  degenerated  into  mere  prettiness. 
To  help  one  to  realise  how  far  this  school  had  gone, 
let  the  reader  imagine  if  he  can  how  such  printing 
would  have  treated  some  of  the  world's  finest  prints. 
Is  it  possible  to  imagine  Albert  Diirer's  Prodigal  Son 
or  Rembrandt's  Three  Trees  in  red  ! 

But  the  colour  printer  went  farther  than  red  and 
brown  ink,  he  endeavoured  to  reproduce  the  colours 
of  the  original  artist's  v/ork.  With  great  skill  he 
covered  the  work  on  the  plate  with  various  coloured 
inks  and  produced  innumerable  subjects  from  plates 
worked  in  stipple,  from  plates  wrought  in  line,  from 
etched  plates,  and  from  plates  scraped  in  mezzotint. 
The  progression  of  this  idea  has  continued  down  to 
the  present  day.  In  aquatint,  in  lithography,  and  in 
wood  engraving  the  love  for  colour  seized  alike  printer 
and  publisher.  The  frontispiece  to  this  volume  is  in 
the  latest  three-colour  process,  a  photographic  method 
which  has  done  so  much  to  revolutionise  modern 
illustration.  Its  subject  is  Simplicity^  engraved  by 
Bartolozzi  after  Sir  Joshua  Reynolds's  picture  of 
Miss  Gwatkin.  A  proof  of  this,  printed  in  brown, 
sells  for  twenty  guineas,  but  an  impression  of  this 
in  colour  is  worth,  or  rather  sells  under  the  hammer 
for,  £^0.  It  is  only  fair  to  admit  readily  that  a 
great  many  colour  prints  are  very  beautiful  and  that 
considerable  ingenuity  has  been  shown  by  the  printer 
in  his  delicate  and  artistic  printing  of  them,  but  there 
is  no  cogent   reasoning  that  will  uphold   their  in- 


264  CHATS   ON   OLD  PRINTS 

ordinate  value  in  the  fashionable  world  of  collectors. 
In  comparison  with  the  best  work  done  with  the 
graver,  with  the  etching-needle,  and  with  the  scraper 
since  from  the  days  of  the  old  masters  down  to 
Whistler  and  Seymour  Haden,  Mr.  Timothy  Cole, 
and  Mr.  Frank  Short,  the  prices  realised  by  colour 
prints  show  an  unbalanced  judgment,  and  it  is  to  be 
hoped  for  the  sake  of  all  that  is  true  and  beautiful  in 
Art  that  the  bubble  of  colour-print  collecting  will  soon 
be  pricked.  When  Lady  Hamilton  as  Nature  after 
Romney,  engraved  in  stipple  by  Meyer  and  printed 
in  colour,  realises  four  hundred  and  seventy  guineas, 
when  Hoppner's  The  Frankland  Sisters,  engraved  by 
Ward,  sells  for  ^^693,  and  the  thirteen  prints  of 
Wheatley's  Cries  of  London  bring  one  thousand 
pounds,  it  is  time  to  cry  a  halt.  Of  course  there 
is  no  intrinsic  value  to  be  placed  on  any  work  of  art. 
It  is  worth  exactly  what  somebody  cares  to  pay  for 
it.  Art,  and  especially  art-dealing,  is  subject  to  the 
caprice  of  fashion.  But  a  note  of  warning  should  be 
sounded  to  reach  the  ears  of  the  ordinary  man,  that 
he  may  not  embark  on  colour  prints  as  an  investment 
or  even  as  a  speculation,  for  the  time  cannot  be  far 
off  when  those  interested  persons  who  have  so  care- 
fully "  rigged  the  market "  in  colour  prints  will  find 
their  chateaux  en  Espagne  tumbling  about  their  ears. 
A  mezzotint  in  colour  is  a  contradiction  in  terms. 
The  mezzotint  engravers  themselves  rejected  the 
colour  printer  for  their  finest  plates.  Valentine 
Green  absolutely  refused  to  have  any  of  his  work 
printed  in  such  manner.  A  coloured  mezzotint  is 
always  a  dangerous  possession.     Even  in  eighteenth 


AQUATINT  AND   COLOUR  PRINTS  265 

century  days  it  was  the  worn  plate  that  proceeded 
to  its  next  stage  as  a  colour  print.  But  nowadays 
hundreds  of  thin  impressions  worthless  to  the  col- 
lector of  mezzotints  have  been  coloured  by  hand, 
and  this  simple  operation  has  increased  their  value 
twenty-fold.  With  other  engraving  the  fraud  of 
colouring  by  hand  is  fairly  easy  to  discover,  but 
in  mezzotint  the  cheat  has  the  decided  advantage 
over  the  connoisseur. 

In  stipple  the  hand-coloured  print  should  be  easy 
of  detection.  As  we  have  already  shown  in  the 
previous  portion  of  the  volume  dealing  with  line 
and  stipple  engraving,  the  incised  work  on  the  plate 
holds  the  ink,  and  the  portions  on  the  copper  not 
bearing  any  work  of  the  tool  print  white.  It  is  just 
this  fact  that  overcomes  the  most  cunning  effort  of 
the  fabricator.  A  genuine  colour  print  is  one  which 
has  been  inked  m  colour  by  the  printer,  and  con- 
sequently all  over  the  plate  every  portion  between 
lines  or  between  dots  should  print  white.  In  prints 
coloured  by  hand  these  portions  are  covered  with 
colour.  Even  on  prints  coloured  on  the  plate  in 
genuine  fashion  certain  portions,  such  as  the  eyes, 
were  afterwards  finished  by  hand,  but  the  above 
rule  holds  good  as  a  test. 

In  no  sense  is  the  collecting  of  colour  prints  suited 
for  the  young  collector.  Forgeries  of  the  engraved 
work  of  Bartolozzi,  Tomkins,  C.  Turner,  Ward, 
Gaugain,  J.  R.  Smith,  and  others  who  worked  after 
the  canvases  and  drawings  of  Morland,  Romney, 
Hoppner,  Cosway,  Reynolds,  Cipriani,  Downman, 
and  Stothard  are  being  reproduced  by  the  hundred 


266  CHATS   ON  OLD  PRINTS 

by  means  of  mechanical  process.  Much  of  this  work 
is  of  a  high  class  and  much  of  it  is  not  intended  to 
be  fraudulent,  but  many  of  these  plates  have  been 
purposely  soiled  to  be  sold  as  old  coloured  prints. 
There  are  small  factories  busy  reproducing  these 
colour  prints  to  be  sold  to  unscrupulous  printsellers 
at  prices  varying  from  a  shilling  to  fifteen  shillings 
each,  wholesale  price  to  the  trade.  With  such  a 
steady  manufacture  going  on,  the  best  advice  the 
writer  can  give  to  the  beginner  is  to  refuse  to  have 
anything  whatever  to  do  with  this  school  of  colour 
prints. 

In  caricature  there  are  the  masterly  etchings  of 
James  Gillray  (1757-1815)  and  Thomas  Rowlandson 
( 1 756-1 827),  which  are  very  numerous  and  depict  in 
coarse  and  grim  humour  the  follies  and  the  vices  and 
the  political  cabals  of  the  reign  of  George  III.  Their 
colour  is  as  luridly  free  as  many  of  their  subjects,  but 
as  caricaturists  their  work  has  a  European  reputation. 
The  collection  of  their  works  is  a  special  study  in 
print  collecting.  The  designs  of  Henry  Bunbury, 
the  caricaturist,  were  mostly  engraved  by  other 
men,  and  colour  prints  after  him  are  much  sought 
after. 

Of  sporting  prints  in  colour  there  are  a  great 
number,  and  their  study  is  a  special  one.  There  is 
a  fine  series  of  colour  prints  of  racehorses  after  J.  F. 
Herring,  published  from  1827  to  1839,  and  worth 
about  £^  each  if  in  fine  condition.  The  coloured 
plates  after  Henry  Aiken  cover  a  wide  area.  The 
best  known  of  his  many  volumes  is  the  "National 
Sports  of  Great  Britain,"  published  in  182 1.     It  con- 


AQUATINT  AND  COLOUR  PRINTS  26/ 

tains  fifty  coloured  aquatints  by  J.  H.  Clark,  and 
deals  with  Hunting,  Coursing,  Hawking,  Shooting, 
Fishing,  and  does  not  exclude  Cock-fighting  and 
Bear-baiting.  This  was  originally  published  at  ;^io, 
but  it  now  brings  anything  from  £^o  to  £'/o.  Much 
of  Aiken's  work  is  soft-ground  etching  coloured  by 
hand.  "The  Sporting  Scrap  Book"  of  1824,  with 
fifty  etchings,  is  more  often  found  uncoloured  than 
coloured.  Aiken's  "  Notions  "  is  a  set  of  six  humorous 
hunting  plates,  "  I  had  not  the  most  distant  notion 
my  horse  was  going  to  stop,"  &c.  The  edition  of 
1837  is  worth  about  ;^4,  but  this  set  on  account 
of  its  popularity  has  been  reproduced  in  various 
forms  in  colour. 

Jakob  C.  Le  Blon  in  Holland  anticipated  the 
modern  three-colour  process  by  using  three  plates 
inked  with  red,  blue,  and  yellow  and  superimposing 
them  on  the  same  piece  of  paper,  thus  getting  his 
range  of  colours  from  these  three  primary  ones.  His 
system  was  also  used  in  France  and  England. 

In  late  eighteenth- century  days  in  France  Janinet, 
Vidal,  and  Debucourt  elaborated  printing  in  colour 
by  using  six  or  seven  plates  each  inked  with  a  sepa- 
rate colour.  This  required  great  nicety,  as  in  each  suc- 
cessive printing  the  plate  and  paper  had  to  be  adjusted 
exactly  in  position,  and  this  "  register "  required  the 
same  accurate  treatment  in  lithographic  colour  work 
where  many  printings  were  given  in  different  colours. 

Coloured  aquatints  are  another  story.  They  may 
be  bought  cheaply  and  they  repay  study.  Rarely 
more  than  two  or  three  colours  were  applied  to  the 
plate  itself;  the  colouring  was   mostly  done  after- 


268  CHATS   ON   OLD  PRINTS 

wards  on  the  print  by  hand.  Both  Turner  and 
Girtin  in  their  early  days  were  employed  on  this 
work  for  J.  R.  Smith's  plates.  A  very  fine  aquatint 
is  not  unlike  a  water-colour  drawing.  In  fact,  in 
some  cases  the  high  lights  were  removed  with  a 
knife.  For  the  first  thirty  years  of  the  nineteenth 
century  many  volumes  appeared  with  coloured  illus- 
trations done  in  this  manner  bearing  the  names  of 
Ackerman,  of  Havell,  and  other  publishers. 

In  1804-5  3-  series  of  six  views  on  the  Thames 
was  executed  in  this  style  by  William  Daniell,  who 
together  with  other  members  of  his  family  are  well 
known  for  aquatint  illustrations  principally  dealing 
with  Oriental  life  and  travel.  His  Voyage  round 
Great  Britain,  in  eight  volumes,  contains  over  three 
hundred  coloured  plates  of  very  good  quality.  A 
complete  set  is  worth  about  twenty-five  guineas,  but 
separate  plates  are  easy  to  procure. 

William  Havell  did  a  set  of  Thames  drawings  for 
another  series  published  in  181 2  by  D.  and  R. 
Havell.  Some  fine  aquatints  by  Stadler  were  pro- 
duced after  Prout's  architectural  drawings,  coloured 
by  hand,  and  David  Cox  and  Turner  both  provided 
subjects  for  the  aquatinter. 

Passing  mention  must  be  made  of  the  process  of 
George  Baxter  (i  806-1 867)  of  using  several  blocks 
for  colour  printing.  His  results  he  termed  "  oil 
pictures."  They  exhibit  a  great  delicacy  of  finish, 
and  are  brilliant  in  colour.  He  published  them  about 
1 850  at  prices  varying  from  2s.  down  to  6d.  each.  They 
came  at  a  period  when  albums  and  books  of  "  gems  " 
were  the  necessary  appurtenances  of  the  drawing- 


AQUATINT  AND   COLOUR  PRINTS  269 

room  table.  To  quote  his  own  words  in  an  adver- 
tisement, "  No  lady's  Scrap  Book  can  be  perfect 
without  a  series  of  these."  Nowadays  higher 
prices  are  given  by  collectors  who  like  that  sort 
of  thing.  They  are  mostly  of  small  size,  varying 
from  about  3  in.  by  4  in.  in  area.  Summer^  hay- 
makers beneath  a  tree  {2%  in.  by  2|  in.),  is  priced  at 
15s.  in  a  recent  catalogue.  His  Hollyhocks  and  the 
Gardener's  Shed  with  flowers  and  fruit  (both  15  in. 
by  loj  in.)  are  priced  at  three  and  a  half  guineas 
apiece.  Lake  Lucerne  after  Turner  (loj  by  15  in.) 
and  the  Day  before  Marriage  after  Corbaux  (14J  in. 
by  loj  in.)  are  both  priced  at  five  guineas.  Baxter 
executed  some  four  hundred  prints  in  colour,  and  it 
should  not  be  difficult  to  procure  a  fair  specimen  for 
a  few  shillings. 

Perhaps  it  is  a  healthier  taste  to  collect  the  colour 
work  after  Walter  Crane  with  his  Pan's  Pipes  and 
Fiords  Feast ^  Kate  Greenaway  in  her  Almanacs^ 
Marigold  Garden  and  Pied  Piper^  and  Randolph 
Caldecott  in  his  inimitable  series  of  Nursery  Books — 
but  these  things  belong  to  days  gone  by.  The  ad- 
vent of  the  three-colour  photographic  process  has 
put  an  end  to  book  illustration  by  any  other  means, 
so  that  the  fine  and  sustained  excellence  of  the  repro- 
ductions in  colour  after  the  delightful  drawings  of 
the  three  artists  we  have  mentioned  must  take  their 
place  as  classics  of  a  past  generation. 


i 


XIV 

LITHOGRAPHY 


CHAPTER    XIV 


LITHOGRAPHY 


Its  technique — Senefelder  its  inventor,  1798 — Lithography 
on  the  Continent — Early  English  lithographers — Its 
peculiar  artistic  qualities — Artist-lithographers — Its 
popularity  in  France — The  revival  of  lithography  in 
the  late  nineteenth  century. 

The  Technique. — Lithography  is  the  art  of  drawing 
on  a  specially  prepared  stone,  which  is  capable  of 
producing  impressions  on  paper  called  lithographs. 
Alois  Senefelder,  the  son  of  a  performer  at  the 
Theatre  Royal,  Munich,  finding  himself  too  poor  to 
publish  some  of  his  works  as  an  author,  was  engaged 
in  experimenting  with  copper  plates  and  mastering 
the  difficult  art  of  writing  in  reverse  in  the  manner 
that  the  name  is  engraved  on  a  plate  for  a  visiting- 
card.  His  poverty  again  was  his  mascot.  Necessity 
being  the  mother  of  invention,  not  being  able  to 
afford  to  spoil  copper  plates  by  practising  upon 
them,  he  procured  some  pieces  of  soft  stone.  But 
dirty  linen  must  be  washed  in  poor  households  ;  but 
poor  as  were  the  Senefelders,  it  seems  from  the  story 

1 8  273 


274  CHATS  ON  OLD  PRINTS 

that  theirs  was  washed  elsewhere.  Alois  Senefelder 
used  as  ink  his  composition  of  soap,  lamp-black, 
and  wax  to  write  upon  a  piece  of  this  soft  stone  the 
items  of  this  historic  bundle  of  linen  his  mother  was 
sending  to  be  washed.  The  result  was  the  discovery 
of  lithography.  At  first  he  corroded  the  surface  of 
the  stone  with  aquafortis  and  found  that  the  black 
composition  resisted  the  acid  and  left  the  writing 
standing  in  relief  and  capable  of  being  printed  from. 
But  later  he  found  that  a  simpler  process  would 
arrive  at  the  same  result.  He  wetted  the  stone 
with  water  after  writing  upon  it  with  his  black, 
greasy  composition,  the  surface  of  the  stone  being 
exceedingly  porous  drank  up  the  water,  but  the 
writing  was  left  untouched.  On  passing  a  roller 
charged  with  printing-ink  over  this  he  found  that  the 
ink  only  adhered  to  the  parts  written  upon.  This 
rudimentary  principle  of  the  natural  antipathy  of 
grease  to  water  was  the  foundation  of  lithography. 
Its  earliest  use  in  1796  was  in  printing  pieces  of 
music,  and  it  was  not  very  long  before  transfer  paper 
was  used  to  enable  a  design  to  be  drawn  in  the  usual 
manner  and  transferred  to  the  stone,  obviating  the 
unpleasant  necessity  of  drawing  in  reverse.  The 
year  1798  is  the  date  when  Senefelder  had  brought 
it  to  practical  perfection  and  discovered  the  best 
means  of  printing  from  lithographic  stones.  Patents 
were  taken  out  in  Vienna,  Paris,  and  London.  The 
art  at  his  commencement  was  known  by  the  name 
of  poly  autography.  It  found  ready  favour  with 
artists  who  saw  its  possibilities  in  reproducing  their 
own  work  without  the  interposition  of  an  interpreter 


LITHOGRAPHV  2*J% 

between  themselves  and  the  printer.  Its  qualities 
in  this  respect  in  enabling  artists  to  work  straight 
on  the  stone  with  the  same  ease  that  they  could  draw 
on  paper  resembled  etching  in  its  appeal  direct  from 
the  artist  to  his  public. 

Lithographic  chalk,  a  more  convenient  form  for 
use  in  drawing,  was  made  of  common  soap,  tallow, 
virgin  wax,  shellac,  and  lamp-black.  When  the  design 
is  transferred  on  to  the  stone  from  paper,  a  bridge 
is  made  over  the  stone  to  prevent  the  hand  from 
touching  it,  for  so  sensitive  is  it  that  if  the  fingers 
be  placed  on  any  portion  the  slight  perspiration  is 
sufficient  to  take  the  ink  at  a  later  stage  and  con- 
sequently give  a  finger  print  or  black  smudge  in  the 
printed  lithograph. 

The  drawing  on  the  stone  is  made  in  the  same 
manner  as  in  using  a  BBB  pencil  on  fairly  smooth 
paper.  The  flat  tints  are  produced  with  using  faint 
strokes  patiently  worked  in- varying  directions.  In 
cases  of  strong,  high  lights  they  are  scraped  out. 
In  corrections  when  work  is  too  dark  a  needle  is  used 
to  pick  out  the  chalk  in  the  manner  of  stipple. 

"  Etching  in  "  is  the  next  step.  Aquafortis  diluted 
to  the  strength  of  one  part  acid  to  a  hundred  parts 
water  is  poured  over  the  stone,  which  is  then  washed 
with  water,  and  finished  with  a  solution  of  weak 
gum-water  being  poured  over  it.  The  action  of  the 
acid  on  the  untouched  portions  of  the  stone  is  to 
strengthen  the  quality  the  stone  possesses  in  refusing 
the  printing  ink,  and  the  gum-water  fills  up  the  pores. 

The  process  was  found  capable  of  great  extension. 
A  method  of  etching  was  employed,  a  ground  was 


276  CHATS   ON  OLD  PRINTS 

laid  of  gum-water  and  lamp-black,  and  this  needle 
used  as  on  copper,  special  care  being  taken  not  to 
cut  into  the  stone.  After  this  the  stone  was  rubbed 
with  linseed  oil,  and  washed  with  water.  Pencil 
sketches  on  coloured  paper  touched  up  with  white 
were  reproduced  very  beautifully  by  the  use  of  a 
second  stone.  The  second  stone,  termed  the  "  tint 
stone,"  was  inked  with  various  colours  and  printed 
from,  this  print  then  received  an  impression  from  the 
first  stone  in  black. 

These  are  only  the  earliest  methods,  as  the  art 
advanced  chromo-lithography  became  more  intricate, 
and  as  many  as  fourteen  or  fifteen  stones  were 
employed,  and  some  wonderful  and  highly  artistic 
results  obtained.  But  as  we  have  stated  in  the 
previous  chapter  on  colour  prints,  this  is  rather  the 
art  of  the  printer  than  that  of  the  artist.  Mention 
should  be  made  of  the  magnificent  series  of  large 
chromo-lithographs  from  pictures  by  the  old  masters, 
which  were  issued  by  the  Arundel  Society.  Zinco- 
graphy is  another  form  where  zinc  plates  were  used 
in  place  of  stone,  and  similar  results  in  monochrome 
obtained.  Aluminium  has  also  been  employed,  and 
the  process  is  termed  algraphy. 

From  about  1820  to  i860  lithography  was  very 
extensively  practised  in  this  country.  Samuel  Prout 
(1783-185 2)  produced  some  excellent  work  on  the 
stone.  His  Sketches  in  France ^  Switzerland,  and 
Italy  consist  of  twenty-six  fine  plates  delicately 
coloured  by  hand.  Strasbourg  and  the  Fountain  at 
Schaffhauseny  Sandgate,  "drawn  from  nature  on 
stone"  (8f  in.  by  I2f  in.),  and  printed  by  C.  Hull- 


From  a  Lithograph  by  C.  Hullmandel,  after  a  Drawing  by  J.  D.  Harding. 
(Size  of  original  lithograph  5^  /;;,  by  7J  in.) 


[To  face  page  276. 


^  •  *        ■      « 


■„<■■  '^  •'/*  >*•     •  *>->       f,  ••,.   ..     • 


LITHOGRAPHY  2^7 

mandel,  whose  name  appears  on  many  lithographs  of 
this  period,  are  especially  noteworthy.  Hullmandel 
made  many  improvements  in  the  art,  especially  in 
the  treatment  of  tint,  and  the  use  of  white  in  the 
high  lights.  He  published  twenty-four  Views  of 
Italy  in  1 8 14,  and  printed  work  after  Cattermole, 
Harding,  Stanfield,  Nash,  Roberts,  and  others. 

"  Printed  in  Hullmandel  and  Walton's  Patent 
Lithotint,"  appears  on  some  of  the  work  printed  by 
him,  as,  for  instance,  Ubn^  "  drawn  from  nature  and 
on  stone  by  S.  Prout";  "Printed  by  C.  Hullmandel"; 
and  "Published  by  J.  Dickinson,  1826,"  being  in- 
scribed on  one  print. 

R.  J.  Lane  (i  800-1 872)  was  a  painter  who  executed 
some  delicate  lithographs ;  there  are  four  studies  of 
a  young  girl,  some  six  inches  by  five  in  area,  that 
are  remarkable  for  their  fine  feeling  and  exquisite 
touch.  His  work  is  surprisingly  beautiful,  and 
deserves  greater  recognition. 

J.  D.  Harding  (i  798-1 863)  did  some  fine  drawings 
for  the  stone.  We  illustrate  a  lithograph  from  a 
drawing  by  Harding  of  Rouen,  "  lithographed  and 
printed  by  C.  Hullmandel,"  and  published  by  Charles 
Tilt,  Fleet  Street.  Other  of  Harding's  work  was 
lithographed  by  him  after  the  work  of  other  men 
such  as  R.  P.  Bonington,  and  printed  by  Hullmandel. 

R.  P.  Bonington  (1801-1838),  the  artist  who  lived 
and  painted  so  much  in  France,  and  was  cut  off  in 
his  twenty- seventh  year,  executed  lithographs  him- 
self. His  influence  was  especially  great  on  French 
artists,  and  his  marine  subjects  and  landscapes  have 
won  him  European  fame.     He  drew  on  the   stone 


278  CHATS   ON  OLD  PRINTS 

some  fine  views  of  Scottish  scenery,  including 
Bothwell  Castle^  Loch  Tay^  Loch  Lomond^  Argyll 
CastlCy  besides  drawings  of  Caen^  Abbeville^  and 
Rouen. 

Joseph  Nash,  in  his  "  Mansions  of  England,"  pro- 
duced some  lasting  work.  The  fine  interiors  of 
Tudor  and  Stuart  houses  are  faithfully  represented, 
and  the  volume  is  a  picture  gallery  of  delightful 
architecture  and  woodwork  and  furniture.  Single 
lithographs  from  this  series  may  frequently  be  found 
in  the  printsellers'  portfolios  for  a  shilling  apiece. 

T.  Sidney  Cooper,  the  renowned  cattle  painter,  has 
left  some  excellent  lithographs.  His  Distant  View 
of  Canterbury  Cathedral  across  the  water-meadows 
with  a  group  of  cattle  in  the  foreground  is  one  well 
known,  and  Saardani^  Frankfort^  and  Aix-la-Chapelle 
were  done  on  stone  by  him,  and  bear  the  additional 
information  on  the  print :  "  Drawn  by  F.  C.  Tomkins 
from  a  sketch  by  J.  R.  Planch^.  On  stone  by  T.  S. 
Cooper.  A.  Ducot^s,  Lithog%  St.  Martin's  Lane." 
There  are  here  indications  that  the  art  was  being 
commercialised  by  the  introduction  of  co-operative 
drawing  and  designing  and  lithographing  and 
printing  and  publishing. 

The  lithographs  of  Louis  Haghe  deserve  mention. 
He  worked  on  the  stone  after  Roberts  and  others, 
and  himself  drew  some  fine  architectural  subjects. 
He  entered  into  partnership,  and  the  title  "  Day  and 
Haghe,  Lithographers  to  the  King,"  frequently  appears 
on  prints  about  the  year  1834. 

Nor  was  lithography  confined  to  views  and  fancy 
subjects  requiring  great  delicacy.     In  the  illustration 


LITHOGRAPHY  279 

(facing  p.  280),  after  H.  C.  Selous  from  a  portrait  by 
Vandyck  oi  Caspar  de  Crayer,  "Printed  and  published 
by  W.  Elliott,  Fenchurch  Street,"  its  strength  falls 
little  short  of  mezzotint.  But  portraits  were  pro- 
duced in  greater  numbers  in  Holland  and  in  Germany, 
and  may  frequently  be  found  without  much  trouble 
at  prices  that  are  in  pence  rather  than  in  shillings. 

It  is  not  generally  known  that  Turner  executed 
some  lithographs,  but  during  a  visit  to  Edinburgh  in 
1824,  it  appears  that  he  drew  two  scenes  of  the  fire 
which  did  so  much  damage  there  at  that  date.  These 
have  recently  been  discovered,  and  illustrations  of 
them  appear  in  the  Connoisseur^  June,  1906. 

Whistler  did  over  a  hundred  lithographs,  many  of 
which  are  now  scarce.  Old  Battersea  Bridge  done 
in  1879;  Readings  figure  of  a  lady  seated  reading, 
1879 ;  Limehouse^  with  its  quaint  old  buildings  and 
wharves,  its  three-masted  vessel,  and  its  barge  with 
a  man  and  woman  in  foreground,  1878,  are  among 
the  rarest,  and  bring  from  three  to  six  guineas  each. 
Then  there  is  the  Winged  Hat,  the  figure  of  a  young 
woman  seated,  which  appeared  in  the  Whirhvind 
at  the  price  of  a  penny,  now  catalogued  at  anything 
from  ten  shillings  to  a  guinea.  But  other  Whistlers 
are  still  procurable  for  next  to  nothing.  There  is  in 
an  odd  volume  of  the  Pageant,  1896,  which  may 
readily  be  picked  up  on  booksellers'  stalls  for  a 
shilling,  a  lithograph,  by  Whistler,  entitled,  The 
Doctor. — Portrait  of  My  Brother. 

Other  odd  volumes  contain  work  by  Mr.  C.  H. 
Shannon  or  by  Mr.  J.  Pennell ;  there  is  the  Savoy 
(Nos.  I  and  2),  1896,  edited  by  that  wonderful  and 


28o  CHATS   ON    OLD  PRINTS 

erratic  genius,  Aubrey  Beardsley,  which  still  lie  about 
unregarded  on  bookstalls  for  a  few  shillings,  contain- 
ing poems  and  stories  by  poor  Ernest  Dowson, 
brilliant  criticisms  by  Mr.  Bernard  Shaw  and  Mr. 
Frederick  Wedmore,  and  fine  literary  fare  from  the 
pens  of  a  brilliant  school  of  writers,  and  last,  but  not 
least,  crowded  with  drawings  by  Beardsley  himself. 
Here  are  three  fine  lithographs  by  Mr.  Charles  H. 
Shannon  entitled  Salt  Water ^  two  nude  figures  by 
the  seashore.  The  Diver^  a  most  delicate  drawing  in 
the  nude  of  a  woman  about  to  dive,  and  a  third 
exquisite  lithograph  of  two  girls,  which  is  supremely 
exquisite  in  its  Watteau-like  grace. 

It  is  difficult  among  a  crowd  of  worthy  artists  in 
lithography  to  differentiate  with  nicety  between  men 
where  the  work  of  all  is  so  excellent.  Mr.  William 
Strang  has  done  noteworthy  lithographs  in  his  Ian 
Strang  and  other  portraits.  Mr.  Frank  Short,  in  his 
Timber  Ships^  Great  Yarmouth^  and  his  Eel  Fishings 
VolendaMy  has  exhibited  a  mastery  of  the  possi- 
bilities of  the  technique.  Mr.  Shannon,  whom  we 
have  already  mentioned,  has  done  delicate  and 
sensitive  work  which  is  always  delightfully  precious. 
Mr.  J.  Pennell,  in  a  long  series,  among  which  we 
select  almost  at  random  View  in  Penzance  and  Street 
in  RoueUy  has  contributed  to  the  advancement  of 
lithography,  in  addition  to  being  its  historian.  Mr. 
Oliver  Hall,  Colonel  Gofif,  with  his  powerful  effects 
and  breadth  of  treatment,  Mr.  Frank  Brangwyn, 
Mr.  Anning  Bell,  Mr.  Edwin  Hayes,  Mr.  George 
Clausen,  and,  of  course,  M.  Alphonse  Legros,  have 
all  made  lithography  a  living  art. 


PORTRAIT  OF  CASPAR  DE  CRAYER. 


From  a  Lithograph  by  H.  C.  Selous,  after  Vandyck. 
{Size  of  original  lithograph  7  in.  by  9J  in.) 


[To  face  page  280. 


LITHOGRA  PHY  2  8 1 

Some  few  years  ago  there  was  a  great  burst  of 
enthusiasm  among  artists  for  work  on  the  stone, 
though  as  a  matter  of  fact  Hthographic  paper  has 
been  so  greatly  improved  that  the  major  portion  of 
modern  work  is  done  on  that  medium.  Among 
artistic  printers  the  name  of  Mr.  T.  Way  stands  pre- 
eminent as  having  lovingly  imprinted  much  of  the 
work  of  the  greatest  modern  lithographers,  nor 
should  one  omit  the  charming  lithographs  of  T.  R. 
Way,  Lanark   Wharf  and  the  Lower  Pool. 

In  France  the  names  of  Gavarni  (i 804-1 866), 
Daumier  (i  808-1 879),  Celestin  Nanteuil  (18 13-1873), 
and  A.  Deveria  (18 10-1857)  are  classics  already 
among  lithographers,  though  the  art  is  only  a 
century  old.  There  is  something  peculiarly  adapted 
to  the  French  spirit  in  the  practice  of  lithography, 
and  in  result  there  is  a  particularly  satisfying  charm 
about  much  of  the  work.  Frangois  Ferogio  has 
worked  on  stone  with  a  finesse  and  subtlety  that  is 
unsurpassed.  His  silvery  effects  of  the  morning 
mists  breaking  through  the  filigree-like  branches  of 
the  overarched  trees,  with  the  soft  and  subdued  light 
scintillating  on  the  foliage,  endow  his  work  with  a 
romantic  feeling  and  a  poetic  charm.  But  a  whole 
list  of  masterly  French  artists  are  at  the  call  of  the 
discerning  collector.  Gericault,  E.  J.  Horace  Vernet 
(1789-1863),  Carle  Vernet  (1758-1836),  Baffet, 
Charlet,  Delacroix,  and,  above  all,  Eugene  Isabey 
( 1 803-1 886),  whose  coast  scenes,  with  their  old 
tumbled  houses,  have  all  the  tone  of  masterly 
mezzotints,  but  with  infinitely  more  colour  and 
light.     His  Barques  de  Pecheurs  is  especially  fine. 


282  CHATS   ON  OLD  PRINTS 

Desavary  has  reproduced  the  idealism  of  Corot  on 
stone,  and  Anastasi  has  executed  landscapes  after 
Dupr^  and  after  Troyon ;  Emile  Vernier  (1831- 
1884),  Loutrel,  Laurens,  and  Frangais  have  faithfully 
caught  the  reflected  glory  of  Corot  and  the  Barbizon 
school  and  monumentally  recorded  it  on  stone. 

Fantin-Latour,  with  his  wonderful  series  of  musical 
subjects  inspired  by  Wagner,  by  Berlioz,  by  Schumann 
and  Brahms,  has  produced  considerably  over  a 
hundred  lithographs.  Among  some  of  the  finest 
are  Scene  premiere  du  Rheingold  (1876),  Solitude 
(1882),  Harold  dans  les  Montagnes  (1884),  Evocation 
d'Erda  (1885),  G otter ddnimerung^  Siegfried  et  les 
Filles  du  Rhin  (1884). 

Adolphe  Willette  enchants  us  with  his  Chansons 
d Amour  and  Girl  and  Pierrot,  Sterner  charms  with 
his  Girl  with  Mandoline  and  many  others, — and 
there  is  Steinlen.  In  his  incomparable  ballads  in 
stone  of  grisettes,  of  sordid  night-hawks,  of  laughing 
roysterers,  all  the  modern  street  life  of  Paris  is 
revealed.  The  helpless  cry  of  the  social  outcast, 
hanging  over  the  river  on  the  quay-side,  rings  in  our 
ears,  and  the  low,  musical  purr  of  the  cat  nestling  by 
the  side  of  the  tired  sempstress  touches  a  tender  note. 
The  thousand  and  one  kaleidoscopic  phases  of 
Parisian  life  he  has  arrested  at  the  psychological 
moment  and  transferred  to  the  stone.  We  peep  at 
them  through  the  filmy  dream-halo  he  has,  artist 
that  he  is,  thrown  around  his  characters.  In  such  a 
gallery  it  is  difficult  to  choose  where  all  are  so 
striking.  But  in  the  series  Chansons  de  Femnies  the 
graceful   figure  of  a  workgirl,  bonnet-box  on  arm, 


LITHOGRAPHY  28$ 

reading   a   letter   in   the   street,  Lettre  a  Ninon,  is 
especially  delightful. 

There  are  hundreds  of  lithographs  that  may  readily 
be  had  for  a  shilling  apiece  ;  indeed,  the  collector 
need  hardly  ever  go  above  five  shillings  to  procure 
fine  specimens  unless  he  intends  to  specialise,  when, 
of  course,  there  is  no  telling  where  he  may  end.  We 
reproduce  a  lithograph  by  Allong^  entitled  Une 
Riviere,  from  the  series  Le  Paysage  au  Fusain.  The 
marvellous  depth  of  tone,  the  brilliance,  and  the 
delicacy  proclaim  it  at  once  as  a  gem  not  unworthy 
of  any  collection.     (Facing  p.  284). 

Of  Germany,  home  of  lithography,  there  are  many 
examples  and  many  artists  to  tempt  the  collector. 
Adolph  Menzel  has  left  some  fine  lithographs,  and 
Fransz  Hanfstaengl,  with  his  Portrait  of  Alois 
Senef elder,  and  his  Madonnas  and  Madchens  after 
the  old  masters'  canvases,  has  executed  some  un- 
usually brilliant  work.  In  Holland  there  is  Mesker 
and  Weissenbruch  ;  in  Belgium,  Ary  Scheffer  and 
Madou ;  in  Switzerland,  Alexandre  Calame ;  in 
Italy,  Vrolli,  Dusi,  and  Pepino ;  and  in  Spain, 
Blanchar,  Craene,  and  Sensi. 

In  all,  the  art  of  lithography  has  not  attracted  the 
esoteric  collector.  It  is  a  fine  field  in  which  the 
beginner  may  devote  his  energies  in  procuring 
masterpieces  of  the  finest  artistic  feeling.  Perhaps 
its  comparative  cheapness  has  something  to  do  with 
the  aloofness  of  the  fashionable  amateurs.  There 
are  many  fine  specimens  of  work  to  be  found  in 
French  and  German  journals,  and  at  an  Exhibition 
celebrating  the  centenary  of  lithography  held  at  the 


284  CHATS   ON   OLD  PRINTS 

Victoria  and  Albert  Museum  in  1898  some  excellent 
examples  of  the  art  there  exhibited  were  culled  from 
newspapers. 

In  back  numbers  of  the  German  journal  Simplicis- 
simus,  during  the  years  1896  to  1898  and  later,  some 
very  fine  work  appeared.  Jugendy  an  illustrated 
magazine  published  at  Munich,  is  largely  illus- 
trated by  lithographs.  In  the  illustrated  magazines 
of  France  and  in  the  cheaper  illustrated  press  some 
fine  work  by  Steinlen  and  Cheret  and  others  has 
constantly  appeared.  There  is  treasured  by  the 
writer  a  small  lithograph  signed  J.  Baric,  which 
appeared  in  the  Petit  Journal  pour  Rire^  under  the 
heading  Nos  Paysans  (No.  560),  some  years  ago.  In 
size  it  is  only  4J  in.  by  5f  in.,  and  depicts  an  old 
peasant  woman  at  the  washing-tub,  standing  in 
sabots  and  rubbing  the  wet  clothes  on  a  board, 
and  hurling  a  biting  sarcasm  to  a  man  who  loiters 
near.  It  is  only  a  trifle,  but  it  has  within  it  a 
power  to  convey  indescribable  pleasure.  This  is 
only  one  of  many  thousands  ready  to  hand  and 
waiting  for  the  discriminating  lover  of  truth  in  art, 
whether  it  be  in  a  long-forgotten  volume  unread  and 
unreadable,  or  in  the  fleeting  pages  of  the  press,  to 
snatch  the  wheat  and  let  the  chafl"  go — the  chaff  that 
so  often  in  sumptuous  guise  makes  its  pretentious 
appearance  in  the  market-place,  where  fashion  and 
fashionable  ignorance  rush  blindly  to  secure  something 
which  is  nothing  after  all. 

"  It  is  naught,  it  is  naught,  saith  the  buyer,  but 
when  he  has  gone  on  his  way,  then  he  boasteth." 
This  is  the  Oriental  lore  of  Solomon,  but  its  reversal 


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LITHOGRAPHY  285 

holds  good  in  the  auction-room  ;  nothing  is  worth 
anything  unless  it  fetches  a  swinging  price  under  the 
hammer.  But  the  wise  collector  will  put  his  tongue 
in  his  cheek  and  quietly  pursue  his  hobby  in  byways 
where  he  may  shut  his  ears  to  noisy  competitors  and 
delve  the  deeper  into  the  sixpenny  portfolios  where 
golden  dreams  lie  buried. 


TABLE   OF   ENGRAVERS 
ETCHINQ 


Date. 


ITth  Century. 


18th  Century. 


19th  Century.' 

(The  school  of 
engravers  on 
steel  used 
etching  very 
largely  in 
their  work, 
see  p.  209.) 


List  of  the  most  Important  Engravers  who 
have  worked  in  England. 


Barlow,  Francis,  1626- 1702 
Gay  wood,  Robert,  1630-17 11 
Hollar,  Wenceslaus,  1607- 1667 
Place,  Francis,  1640-1728 
White,  George,  1 671-1732 
(Introduced  slight  etching  in  mezzotint 
work) 

Baillie,  Capt.  Wm.,  1 723-1810 
Bickham,  Geo.,  died  1769 
Blake,  William,  1 757-1 827 
Earlom,  Richard,  1 743-1 822 
(Employed  etching  largely  in  mezzotint 
work) 

Gillray,  James,  1 720-181 5 
Hogarth,  William,  1697- 1764 
McArdell,  James,  1 729-1 765 
(Used  deep  etching  in  his  mezzotint  work) 

Pollard,  Robert,  1 755-1 838 
Rowlandson,  Thomas,  1756-1827 
Walker,  Anthony,  1 726-1 765 
Walker,  William,  1 729-1 793 

(Introduced  re-biting  into  etching) 
Wilson,  Benjamin,  1 721-1788 
Ansdell,  R.,  181 5-1 885 
Aumonier,  James 
Bolingbroke,  Minna 
Brangwyn,  Frank 
Bryden,  R. 
Burridge,  F. 

Caldecott,  Randolph,  1846- 1886 
Calderon,  Philip  H.,  1 833-1 898 
Cameron,  David  Y. 


The  Leading  Foreign 
Engravers. 


Holland.— Rembrandt, 
Bol,  Livens,  Van 
Vliet,  Ostade,  Ever- 
dingen,  Zeeman, 
Seghers,  Du  Jardin, 
Paul  Potter 

France.— Claude,  Cal- 
lot,  Bosse 

Italy.— Ludovico,  An- 
nibale  Caracci,  Guide 
Reni,  Stefano  della 
Bella,  Canaletto, 
Belotto 

Germany. — Rode,  G. 
F.  Schmidt,  Kobell, 
Weirotter,  Ridinger, 
Dietrich 

Switzerland. — Gessner 

Spain  (19M  Century). 
—Francisco  Goya 

France  ( 1 9M  Century). 
— Ingres,  Delacroix, 
Huet,  Corot,  Jac- 
quemart,  Meryon, 
Millet,  Lalanne, 
Br  acque  mon  d  , 


»  In  cases  where  no  dates  are  given  the  etchers  are  contemporary. 
287 


288 


CHATS   ON  OLD  PRINTS 
ETCHING  (continued) 


Date. 


19th  Century 
{continued). 


List  of  the  most  Important  Engravers  who 
have  worked  in  England. 


Charlton,  Edward  W. 

Chattock,  R.  S. 

Cooke,  Edward  W.,  1811-1880 

Cope,  Charles  W.,  1811-1890 

Cotman,  John  S.,  1 782-1 842 

Creswick,  Thomas,  1811-1869 

Crome,  John,  1768-1821 

Cruickshank,  George,  1 792-1 878 

Daniell,  Rev.  Edward T.,  1804- 1893 

Delamotte,  Edward,  1 775-1 863 

Du  Maurier,  George,  1 834-1896 

Foster,  M.  Bhket,  1825- 1899 

Francia,  Francois  L.  T.,  1772-1839 

Gascoyne,  George 

Geddes,  Andrew,  1783- 1844 

Goff,  Col.  R. 

Haden,  Sir  Francis  Seymour 

Haig,  Axel  H. 

Hall,  Oliver 

Hardy,  Heywood 

Hayes,  Gertrude 

Herkomer,  Hubert  von 

Hole,  William  B. 

Holroyd,  Sir  Charles  E. 

Huth,  Frederick 

Jacomb-Hood,  George  P. 

Keene,  Charles  S.,  1 823-1 891 

Landseer,  Sir  Edwin  H.,  1802-1873 

Landseer,  Thomas,  1795- 1880 

Law,  David,  1837-1902 

Legros,  Alphonse 

Lewis,  Charles  George,  1807-1880 

Linnell,  John,  1792-1882 

Macbeth,  Robert  W. 

MacWhirter,  J, 

Menpes,  Mortimer 

Millais,  Sir  John  E.,  1829-1896 

Murray,  Charles  O. 

Palmer,  Samuel,  1805-1881 

Pettie,  John,  1 839-1 893 

Pott,  CM. 

Prout,  Samuel,  1 783-1 852 

Redgrave,  Richard,  1 804-1 888 


The  Leading  Foreign 
Engravers. 


Henriquel  -  Dupont, 
Ribot,  Jacque, 
Gaucherel,  Chauvel, 
Rajon,  Erunet-De- 
baines,  Courtry,  Le 
Rat,  Hellen,  Lepere, 
Veyrassat 


Austria. — Unger 


Germany. — Max  Klin- 
ger,  Franz  Stuck 


H  0 1 1  a  n  d. — Niewen- 
kamp,  Zilcken, 
Bosch,  Jongkind 


Norway.— Zorn 


Belgium.— Cassiers 


Denmark. — Monsted 


Rnland . — Nordhagen 


TABLE   OF  ENGRAVERS 
ETCHING   {continued) 


289 


r)of<. 

List  of  the  most  Important  Engravers  who 

The  Leading  Foreign 

have  worked  in  England. 

Engravers. 

lath  Century 

Rhead,  G.  W. 

Swi  t  z  e  r  land.— Van 

{contintied). 

Sherborn,  Charles  William 

Short,  Frank 

Slocombe,  C.  P.,  1832-1895 

Muyden 

Slocombe,  Edward 

America.— Anna    Lea 

Slocombe,  Frederick 

Merritt,  S.J.  Ferris, 
J.  D.  Smilie,  R.  S. 

Smith,  John  Thomas,  1766-1833 

Stannard,  Joseph,  1797-1830 

Gifford,  J.  F.  Cole, 

Strang,  William 

Stephen        Parrish, 

Taylor,  Luke 

Thomas  Moran, 

Thomas,  Percy 

Peter  Moran,  W.  L. 

Turner,  J.  M.  W.,  1775-1851 

Lathrop,  C.:W-  Stet- 

Vincent, George,  1796- 1830 

son,  Joseph  Pennell, 

Watson,  Charles  J. 

T.  Hovenden,  C.  A. 

Whistler,  J.  A.  McNeill,  1834-1903 

Piatt,  F.  S.  Church, 

Wilkie,  Sir  David,  1 785-1841 

D.  S.  Maclaughlan 

Wyllie,  William  L. 

17th  Century. 
18tli  Century. 


19th  Century 
(1801-1860). 


1861-1880 


WOOD    ENGRAVING- 

Little  English  work 
Mainly  chap-books  and  broadsheets 
Branston,  Robert,  1 778-1827 
Bewick,  Thomas,  1 753-1828 
Nesbit,  Charlton,  1 775-1 828 


Anderson,  J.,  1775-1870 

(First  American  wood  engraver) 
Clennell,  Luke,  1 781 -1840 
Harvey,  William,  1796- 1848 
Jewitt,  Orlando,  1799- 1869 
Linton,  W.  J.  (went  to  America) 


Cooper,  James 

Evans,  Edmund 

Dalziel  Brothers,  and  their  pupils 

Roberts,  C. 

Swain,  John,  and  pupils 

Thomas,  W.  L. 

Whymper,  J.  W. 


Early  Masters. 

Northern  School. — 
Albert  Durer  (1471- 
1528),  Hans  Burgk- 
mair  (1474-1543), 
the  Cranachs,  Sebald 
Beham,  Lucas  van 
Leyden(i494-i533), 
Altdorffer,  Schon, 
Holbein 

Southern  School. — 
Jacob  Walch,  An- 
tonio de  Guinta, 
Zoan  Andrea,  Bat- 
tista  del  Porto, 
Christoph  Chrieger, 
Niccolo  Boldrini 


18th  Century. 
Germany.  —  Unger 
{1715-1788),  Gubitz 


19 


290 


CHATS   ON   OLD  PRINTS 
WOOD  ENGRAVING  {continued) 


Date. 


19tli  Century 

{continued). 
I 881-1896 


List  of  the  most  Important  Engravers  who 
have  vsrorked  in  England. 


British. 

Babbage,  F. 
Comfort,  A. 
Donner,  E.  P. 
Gardner,  W.  Biscombe 
Hoskin,  R. 
Klinkicht,  M. 
Nicholson,  W. 
Pissaro,  L. 
Ricketts,  C. 
Savage,  R. 
Smith,  W.  T. 
Stainforth,  M. 

American. 

Cole,  Timothy 
Florian 
Johnson,  T. 
Juengling,  F. 
King 
Kingsley,  E. 


The  Leading  Foreign 
Engravers. 


France. — J.M.Papillon 
(1698-1776),  N.  Le 
Sueur  (1691-1764) 

19th  CentTiry. 

Germany. — A.  and  O. 
Vogel,  Ungelmann, 
Muller,  Kretchmar, 
Pfnorr,  Weber,  Bong 

Austria. — Hofel 

France. — C.  Thompson 
(179 1 -1 843)  intro- 
duced method  of 
cutting  on  end  of 
wood  into  France, 
Pannemaker  {pere  et 
fils)y  Edmond  Yon, 
Pisan,Baude,Lepere, 
Colin,  Vallotton 

Holland.  —  Veldheer, 
Nieuwenkamp 


16th  Century. 


17th  Century. 


LINE  ENGRAVING 

Geminus,   Thomas  (worked  about 

1545) 
Hogenberg,  Franz,  1 530-1 590 
Holfnagel,  Georg,  1545-1600 
Rogers,  William,  1589- 1604 
Cecill,  Thomas,  1620- 1645 
Delaram,  Francis,  1590-1627 
Faithorne,    William    (the    Elder), 

1616-1691 
Elstracke,  Renold,  1 598-1625 
Hole,  William,  1607-1630 
Lambart,  Pierre,  1612-1684 
Loggan,  David,  1 635-1 693 
Marshall,  William,  1 591-1649 
Payne,  John,  1607- 1647 
Sherwin,  William,  1 670-1 710 
Van  der  Passe,  Crispin,  born  1560 
Van  der  Passe,  Simon,  1591-1644 


German  y. —  Schon- 
gauer  (1450-1491), 
Diirer  (1471-1528), 
Sebald,  Burgkmair, 
Altdorffer,  Holbein, 
Amman,  Cranach, 
Beham 


Holland. — Lucas  van 
Leyden  (1494-1533), 
the  Wierix  family, 
Aldegraver,  the  De 
Passe  family,  Golt- 
zius,  Pontius,  Vor- 
stermann,  the  Ede- 
linck  family 


TABLE   OF  ENGRAVERS 
LINE  ENGRAVING  {continued) 


291 


Date. 


List  of  the  most  Important  Engravers  who 
have  worked  in  England. 


The  Leading  Foreign 
Engravers. 


17tli  Century 
{continued). 


18tli  Ceutury. 


19th  Century. 


Van  der  Passe,  William,  1 590-1640 
Vaughan,  Robert  (born  middle   of 

17th  century) 
Waller,   R.  (born  middle  of  17  th 

century) 
White,  Robert,  1645-1704 
Baron,  Bernard,  1 700-1 762 
Basire,  James,  1 730-1 802 
Blake,  William,  1 757-1 827 
Boydell,  John,  17 19-1804 
Browne,  John,  1741-1801 
Canot,  Pierre  Charles,  1710-1777 
Chambers,  Thomas,  1 724-1 789 
Gillray,  James,  1 720-1 81 5 
Grignion,  Charles,  17 16- 18 10 
Hogarth,  William,  1697- 1764 
Houbraken,  Jacobus,  1698-1780 
Kip,  Jan,  1653-1722 
Major,  Thomas,  1 720-1 799 
Peak,  James,  1730-1782 
Rooker,  Edward,  1712-1774 
Sharp,  William,  1749- 1824 
Sherwin,  John  K.,  1751-1790 
Strange,  Sir  Robert,  1 721-1792 
Sullivan,  Luke,  1 705-1 771 
Vertue,  George,  1684-1756 
Vivares,  Francois,  1 709-1 780 
WooUett,  William,  1 735-1 785 
Bacon,  Frederick,  1 803-1 887 
Bromley,  William,  1 769-1842 
Carter,  James,  1 798-1855 
Cooper,  Richard,  17 30-1 820 
Cruickshank,  George,  1 792-1 878 
Doo,  George  Thomas,  1 800-1 886 
Engleheart,  Francis,  1 779-1 849 
Finden,  Edward  F.,  1791-1857 
Finden,  William,  1 787-1 852 
Fittler,  James,  1755"  1835 
Freebairn,  Albert  R.,  1794-1846 
Golding,  Richard,  1785- 1865 
Graves,  Robert,  1 798-1 873 
Heath,  Charles,  1 785-1 848 
Holl,  Francis,  1815-1844 


Italy.— Botticelli,  Bal- 
dini.  Marc  Antonio 
Raimondi  (I475~ 
1534),  the  Caracci 
family 

France  [i^th  Century). 
— T  he  Audran 
family,  R.  Nanteuil, 
J.  Morin,  G.  Ede- 
linck,  the  Drevet 
family,  J.  Pesne, 
De  Poilly,  RouUet, 
Masson,  De  Lar- 
messin 

Germany  (17M  Cen- 
tury).— ^J.  Hainzel- 
mann,  G.  Ambling, 
B.  Kilian 

HoUand  {i^th  Cen- 
tury).— Van  Schup- 
pen,  C.  Vermeulen 

France  ( i  '^th  Century) . 
— L.Cars,J.G.Wille, 
Chedel,  Lebas,  Ave- 
line,  Dupuis,  Duflos, 
Gravelot,  Eisen, 
Cochin,  Ficquet, 
the  Tardieu  family, 
Choffard,  De  St. 
Aubin,  Moreau 

Italy  (18M  Century). 
— M arco  Pitteri 
(1703-1786),  Gio- 
vanni Volpato(i  738- 
1803),  Porporati 
(1740- 1816),  and 
Raphael  Morghen 
{1758-1833) 

Germany  (18M  Cen- 
tury). —  G.  F. 
Schmidt  (1712- 
1775),  J-  Wagner, 
the   Preisler  family, 


292 


CHATS   ON  OLD  PRINTS 
LINE   ENGRAYING  [continued) 


Date. 


List  of  the  most  Important  Engravers  who 
have  worked  in  England. 


The  Leading  Foreign 
Engravers. 


19tli  Century 

{continued). 


The  Engra- 
vers after 
Turner. 


For  Engra- 
vers   after 

.  Turner  in 
Mezzotint, 

see  p.  297. 


Holl,  William,  1809-1871 
Humphrys,  William,  1 794-1 865 
Landseer,  Thomas,  1795- 1880 
Le  Keux,  Henry,  1 787-1 868 
Posselwhite,  J. 
Powell,  John,  1 780-1 833 
Raimbach,  Abraham,  1776-1843 
Robinson,  John  Henry,  1 796-1 871 
Ryall,  Henry  Thomas,  1811-1867 
Schiavonetti,  Niccolo,  1772-1813 
Sherborn,  Charles  William 
Skelton,  William,  1 763-1 848 
Smith,  Anker,  1759-1819 
Stocks,  Lumb,  1 812- 1892 
Allen,  James  B.,  1803-1876 
Archer,  John  W.,  1 808-1 864 
Armytage,  J.  C.  (about  1853) 
Basire,  James,  1 769-1822 
Brandard,  Robert,  1 805-1 862 
Cooke,  George,  1781-1834 
Cooke,  William  B.,  1778-1855 
Cousen,  John,  1804-1880 
Goodall,  Edward,  1 795-1 870 
Higham,  Thomas,  1796- 1844 
Horsburgh,  John,  1795-1869 
Jeavons,  Thomas,  1 816-1867 
Kernot,  James  H.  (about  1836) 
Le  Keux,  Henry,  1787-1868 
Middiman,  Samuel,  1750-183 1 
Miller,  William,  1 796-1 882 
Prior,  Thomas  A.,  1809-1886 
Pye,  John,  1 782-1 874 
Radclyffe,  William,  1783-1855 
Rawle,  Samuel  (about  1821) 
Scott,  John,  1 774-1 828 
Smith,  W.  R.  (about  1838) 
Tombleson,  W.  (about  1830) 
Varrall,  J.  C.  (about  1822) 
Wallis,  Robert,  1 794-1 878 
Willmore,  James  T.,  1 800-1 863 
Wilson,  Daniel  (about  1840) 


G.  F.  Bause  (1738- 
18 14),  Chodowiecki 
(1726-1801),  G.  von 
Miiller  (1747-1830), 
F.  W.Miiller,  1782- 
1816 

Austria. — ^J.  Schmutzer 
(1733-1811) 

Spain.— Manuel  Salva- 
dor Carmona  and 
Pascal  Moles  (1730- 
1808) 


TABLE   OF  ENGRAVERS 
STIPPLE   ENGRAYING 


293 


Date, 


ITth  Century, 
lath  Century. 


List  of  the  most  Important  Engravers  who 
have  worked  in  England. 


The  Leading  Foreign 
Engravers. 


(Not  unknown  as  an  adjunct  to  line 

work) 
(First  practised  as  a  separate  art) 
Agar,  John  S.,  1 770-1835 
Baldrey,  John  K.,  1 754-1 828 
Bartolozzi,  F.,  1 727-1815 
Bond,  William 
Bovi,  M. 

Bromley,  William,  1769-1842 
Burke,  Thomas,  1 749-1 81 5 
Caldwall,  James,  1 739-1 820 
Cardon,  Anthony,  1772-1813 
Cheesman,  Thomas,  1 760-1820 
Collyer,  Joseph,  1748-1827 
Conde,  John 

Delattre,  J.  M.,  1745- 1840 
Dickinson,  William,  1 746-1 823 
Earlom,  Richard,  1743- 1822 
Gaugain,  Thomas,  1 748-1 805 
Haward,  Francis,  1 759-1 797 
Heath,  James,  1757-1834 
Jones,  John,  1 740-1 797 
Keating,  George,  1 762-1842 
Knight,  Charles 
Lane,  William,  1746-1819 
Maile,  G. 

Meyer,  Henry,  1783- 1847 
Meadows,  Robert  M.  (died  1812) 
Nutter,  William,  1 754-1 802 
Ogborne,  John,  1725-1795 
Pope,  Alexander  (died  1835) 
Read,  Richard  (worked  1 770-1 780) 
Robinson,  H. 

Ryder,  Thomas,  1 746-1810 
Ryland,  William  W.,  1738-1793 
(Introduced  stipple  engraving  into 
England) 

Schiavonetti,  Luigi,  1765-1810 
Schiavonetti,  Niccolo,  1772-1 81 3 
Simon,  Peter,  1750-18 10 
Smith,  John  Raphael,  1752-1812 
Strutt,  Joseph,  1749-1802 
Thew,  Robert,  1758-1802 


Among  foreign  engra- 
vers stipple  work 
was  not  practised  to 
any  great  extent 


France. — ^Jean  Charles 
Fran9ois{i  7 17-1769) 


Germany.  —  Daniel 
Berger  (i  744-1824) 


294 


CHATS   ON   OLD  PRINTS 
STIPPLE  ENGRAVING  {continued) 


Date. 

List  of  the  most  Important  Engravers  who 

The  Leading  Foreign 

have  worked  in  England. 

Engravers. 

IStli  Century 

Tonikins,  P.  W.,  1 759-1840 

{continued) . 

Trotter,  Thomas  (died  1803) 
Vendramini,  G.,  1 769-1839 
Ward,  William,  1 766-1 826 
Watson,  Caroline,  1 760-1814 
Wilkin,  Charles,  1750-1814 

19tli  Century. 

Baker,  J.  H. 

Stipple  Engraving 

Cousins,  Samuel,  1 801-1887 

little  practised  on  the 

Daniell,  William,  1769-1837 

Continent. 

Doo,  George  T.,  1800- 1886 

Heath,  Charles,  1 785-1 848 

Holl,  Francis,  1815-1884 

Holl,  William,  1 807-1 871 

Jeens,  C.  H.,  1817-1879 

Lewis,  Frederick  C,  1 779-1856 

Picart,  Charles,  1 780-1 837 

Posselwhite,  J. 

Stodart,  E. 

* 

Thomson,  James,  1 789-1 850 

Walker,  William,  1 791-1867 

Woodman,  Richard,  1 784-1859 

17tli  Century. 


MEZZOTINT  ENGRAVING 

Beckett,  Isaac,  1653-17 19 
Blooteling,  Abraham,  1634-1695 
Browne,  Alexander  (end   of   17th 

century) 
Faithorne,  William  (the  Younger), 

1656-1701 
Gascar,  Henri,  1635-1701 
Lens,  Bernard,  1659-1725 
Loggan,  David,  1635-1693 
Lutterel,  Edward,  1650-1710 
Place,  Francis,  1 647-1 728 
Robinson,    Richard   (end   of    17th 

century) 
Rupert,  Prince,  1619-1682 
Sherwin,  William,  1670-1710 
Smith,  John,  1652-1742 
Tempest,  Pierce,  1653-17 17 
Tompson,    Richard   (end   of    17th 

century) 


Ludwig  von  Siegen, 
1609-1676  (the  in- 
ventor of  mezzotint 
engraving),  Fursten- 
berg,  Georg  and 
Michael  Fenitzer, 
W.  Vaillant,  C. 
Dusart,  C.  J.  E. 
Weigel,  J.  G.  Haid, 
B.  Vogel,  G.  P. 
Rugendas 


TABLE   OF  ENGRAVERS 
MEZZOTINT  ENGRAVING  {continued) 


295 


Date. 


List  of  the  most  Important  Engravers  who 
have  worked  in  England. 


The  Leadmg  Foreign 
Engravers. 


17th  Century 
(continued). 


18th  Century. 


Valck,  Gerard,  1626-1720 
Vandervaart,  John,  1 647-1 721 
Verkolje,  John,  1650-1693 
Vincent,  William  (end  of  17th  cen- 
tury) 
Williams,  Roger,  1680- 1704 
Baillie,  Capt.  William,  1723-1810 
Blackmore,  Thomas,  1 740-1 780 
Boydell,  Josiah,  1752-1817 
Brookshaw,  Richard,  1 736-1804 
Dawe,  Philip,  1 760-1 780 
Dayes,  Edward,  1 763-1 804 
Dean,  John,  1 750-1 798 
Dickinson,  William,  1746- 1823 
Dixon,  John,  1 740-1 780 
Doughty,  William,  1 740-1 782 
Dunkarton,  Robert,  1744-1811 
Dupont,  Gainsborough,  175 5-1 797 
Earlom,  Richard,  1743- 1822 
Faber,  John  (Junior),  1684-1756 
Finlayson,  John,  1 730-1 776 
Fisher,  Edward,  1 730-1785 
Frye,  Thomas,  17 10-1762 
Green,  Valentine,  1 739-1 81 3 
Greenwood,  John,  1 727-1 792 
Grozer,  Joseph,  175 5-1 800 
Houston,  Richard,  1 722-1 775 
Jacobe,  Johann,  1 733-1797 
Jones,  John,  1 740-1 797 
Keating,  George,  1 762-1 842 
Kyte,  Francis  (early  i8th  century) 
Laurie,  Robert,  1 755-1 836 
Lumley,  George,  1708-1768 
McArdell,  James,  1 729-1 765 
Martin,  David,  1737-1798 
Pelham,  Peter,  1 694-1 751 
Pether,  William,  1738-182 1 
Simon,  Jean,  1675-1755 
Smith,  John  Raphael,  1752-1812 
Spilsbury,  Jonathan,  1 766-1 810 
Stubbs,  George  T.,  1756-1815 
Townley,  Charles,  1737- 1805 
Van  Bleeck,  Peter,  1 695-1 764 


Germany. — H.     Sint- 
zenich  (1752-1812) 


Austria. — JohannPeter 
Pichler  (i  765-1 806) 


296 


CHATS   ON   OLD  PRINTS 
MEZZOTINT   ENGRAYING  {continued) 


Date. 


ISth  Century 

[amtmued). 


19tli  Century. 


List  of  the  most  Important  Engravers  who 
have  worked  in  England. 


Vertue,  George,  1684-1756 
Walker,  James,  1748-18 19 
Ward,  William,  1766- 1826 
Watson,  James,  1 740-1 790 
Watson,  Thomas,  1743-1781 
White,  George,  1671-1734 
Young,  John,  1755-1825 
Appleton,  Thomas  G. 
Aumonier,  James 
Bridgwater,  H.  S. 
Clint,  George,  1 770-1854 
Cousins,  Samuel,  1 801-1887 
Dawe,  William,  1 790-1848 
Faed,  James 
Finnie,  John 

Hodges,  Charles  H.,  1 764-1 837 
Jackson,  John  R.,  1 819-1877 
Knight,  Joseph 

Lewis,  Frederick  C,  1 779-1 856 
Linnell,  John,  1792-1882 
Lucas,  David,  1802-1881 
Lupton,  Thomas  G.,  1791-1873 
Martin,  John,  1 789-1 854 
Meyer,  Henry,  1 783-1 847 
Miller,  John  D. 
Pratt,  Joseph  B. 
Reynolds,  Samuel  W.  (the  Elder), 

1773-1835 
Reynolds,  Samuel  W.(the  Younger), 

worked  after  1835  on  his  father's 

unfinished  plates 
Robinson,  Gerald 
Say,  William,  1768- 1834 
Short,  Frank 

Turner,  Charles,  1774-1857 
Walker,  William,  1729- 1793 
Ward,  James,  1 769-1 859 
Ward,  William  J.,  1800-1840 
Waterson,  David 
Wehrschmidt,  Daniel  A. 


Engraving  in  Mezzotint 
little  practised  on  the 
Continent. 


TABLE   OF  ENGRAVERS 
MEZZOTINT    ENGRAYING  {continued) 


297 


Date. 


19tli  Century 

{continued). 

The  Engra- 
vers in  Mez- 
zotint after 
Turner. 


List  of  the  most  Important  Engravers  who 

have  worked  in  England  in  Mezzotint 

after  Turner. 


Annis,  W.  (about  1812) 
Clint,  George,  1 770-1 854 
Dawe,  Henry  E.,  1 790-1 848 
Dunkarton,  Robert,  1744-1811 
Easling,  J.  C.  (about  1812) 
Lupton,  Thomas  G.,  1791-1873 
Phillips,  G.  H.  (about  1826) 
Reynolds,  Samuel  W.,  1 773-1835 
Say,  William,  1 768-1834 
Short,  Frank 

Turner,  Charles,  1 774-1 857 
Turner,  J.  W.  M.,  1775-1851 


AQUATINT 


Date 

List  of  the  most  Important  Engravers  in 

Foreign  Engravers  in 

Aquatint  who  have  worked  in  England. 

Aquatint. 

19th  Century. 

Bennett,  W.  J.  (worked  about  1809) 

France.— Le      Prince, 

Daniell,      William,       1769  -  1837 

J.    B.    (1733-1781), 

(coloured) 

inventor  of  aquatint, 

Dubourg,  M.  (worked  about  1809) 

P.      L.     Debucourt 

Fielding,   T.    H.    A.,    1781-1851 

(1 755-1 832),  E.  De- 

(coloured) 

lacroix 

Golding,  Richard,  1785-1865 

Havell,  R.  and  D.  (worked  1810- 

1837)  (coloured) 

Lewis,  F.  C,  1779-1856 

Spain. — F.  Goya 

Prout,  Samuel,  1 783-1853 

Sandby,  Paul,  1 725-1 809 

(Introduced  aquatmt  into  England) 

Short,  Frank 

Germany.  — C.  M.  Metz 

Stadler,  J.  C,  1780-1812  (coloured) 

(1755-1827) 

298 


CHATS   ON   OLD  PRINTS 
COLOUR   PRINTS 


Date. 


IStli  and  19tli 
Centuries. 


Leading  English  Engravers  whose  work: 
has  been  printed  in  colour. 


Bartolozzi,  F.,  1725-1815 
Baxter,  G.,  1806-1867 
(Patented  his  printing  in  oil  colours,  1830) 
Burke,  T.,  1 749-1815 
Cheesman,  T.,  1760- 1820 
Dickinson,  W.,  1 746-1 823 
Knight,  C,  1 743- 1 826 
Nutter,  W.,  1754-1802 
Schiavonetti,  L.,  1 765-1810 
Smith,  J.  R.,  1750-1812 
Tomkins,  P.  W.,  1 760-1 840 
Ward,  J.,  1 769- 1 859 
Ward,  W.,  1 765-1826 


Leading  Foreign 
Engravers. 


P.  Schenck  (1645- 
17 15),  H.  Seghers, 
J.  Peyler,  J.  C.  Le 
Blon      (1670-1741), 

Dagoty,J.  G.(I7I7- 
I786),  F.  Janinet, 
C.  M.  Decourtis,  L. 
P.  Debucourt,  P.  M. 
Alix,  Vidal,  Von 
Amstel,  J.  P.  Pich- 
ler,  H.  Sintzenich, 
J.  T.  Prestel. 


LITHOGRAPHY 


Wrkkp- 

List  of  the  most  Important  Lithographers 

The  Leading  Foreign 

who  have  worked  in  England. 

Lithographers. 

19tli  Century. 

Balfour,  Maxwell 

France.— Vernet,  Geri- 

Bell,  Robert  Anning 

cault,    Deveria, 

Bolingbroke,  Minna 

Charlet,    Aubry-Le- 

Bonington,  Richard  P.,  1801-1828 

comte,      Raffet, 

Brangwyn,  Frank 

Isabey,     Gavarni, 

Brewtnall,  E.  F. 

Daumier,  Dasavary, 

Cattermole,  George,  1800-1868 

Nanteuil,     Gamier, 

Clausen,  George 

Fcrogio,    Decamps, 

Cooper,  Thomas  Sidney 

Benoist,      Anastasi, 

Cotman,  John  Sell,  1782-1842 

Lautrel,    Beaumont, 

Delamotte,  William,  1780-1816 

Vernier,   Le    Roux, 

Fairland,  Charles  H. 

Laurens,       Gigoux, 

Fitton,  Hedley 

Francais,    Bellange, 

Goff,  Col.  R. 

Willette,    Toulouse, 

Greiffenhagen,  Maurice 

Sterner,       Steinlen, 

Haghe,  Louis 

Simon,       Levy, 

Harding,  James  D.,  1798- 1863 

Helleu,    Belleroche, 

Hartley,  Alfred 

Fan  t  i  n-Latour, 

Havell,  William,  1 782-1 857 

Dillon,      Anquetin, 

Holloway,  C.  E. 

0.  Redon 

TABLE   OF  ENGRAVERS 
LITHOGRAPHY  {continued) 


299 


Date. 

List  of  the  most  Important  Lithographers 

The  Leading  Foreign 

who  have  worked  in  England. 

Lithographers. 

19th  Century 

Holme,  Frederick  W.,  1816-1884 

{continued). 

Hullmandel,  Charles  J. 

German  y. — A 1  0  i  s 

Lane,  Richard  J.,  1 800-1 872 

Senefelder,  inventor 

Legros,  A. 

of    lithography 

MacWhirter,  John 

(1798),      Wolffle, 

Marshall,  Herbert 

Hanfstaengl,  Menzel 

Nash,  Joseph,  1808-1S78 

Pennell,  Joseph 

Holland.  —  Mesker, 

Prout,  Samuel,  1 783-1 852 

Weissenbouch 

Rothenstein,  Will. 

Shannon,  C.  H. 

Belgium.  —  Ary 

Sherlock,  William 

Scheffer 

Short,  Frank 

Stanfield,  W.  Clarkson,  1 794-1867 

Switzerland. — Calame 

Strang,  William 

Whistler,  J.  McM.,  1834-1903 

Spain.— Goya 

Watson,  Charles  J. 

Way,  Thomas  R. 

INDEX 


Aiken,  Henry,  266,  267 

Allonge,  283 

Almanacs,  with  fine  engravings,  184 

American  etchers,  289 

wood  engravers,  121,  290 

wood  engraving,  130,  131 

painter   first   paints   British 

soldiers  in  uniform,  173 

Anderloni,  Pietro,  170 

Appearance  of  engraving  under 
magnifying  glass,  36 

Aquatint,  255-262 

how  to  identify  a,  40 

list  of  engravers  in,  258,  297 

"Arabian  Nights,"  illustrated  edi- 
tion of,  102,  105 

Artist's  proofs,   commercialism  in, 


215 
Aiidran,  Gerard, 


^58 


B 

Backhuysen,  etchings  by,  71 
Baillie,  Capt.,  his  copies  of  etchings 

by  old  masters,  48,  64 
Bartolozzi,    Francesco,    178,    192, 

263 
his  engravings  of  children, 

194 
Baxter,  George,  268,  269 
his  wood-blocks  printed  in 

colour,  89 
Bega,  etchings  by,  7 1 
Bella,  Stefano  della,  69 
Berghen,  etchings  by,  71 
Bewick,  Thomas, 


Bewick,  Thomas,  comparison  of  his 
methods  with  modern  wood  en- 
graving, 90,  97 

forgeries  of  his  wood  engrav- 


ings, 48 

the  school  of,  89 


Blake,  William,  i8i,  194-196 
Bologna,  Cries  of  (Caracci) ,  etched 

by  Guillain,  70 
Bonington,  R.  P.,  277,  278 
Book  illustrations,  early  19th  cen- 
tury, with  steel  engravings,  213, 

214 
new   impetus  given  to,  by 

steel  engraving,  206 
Books,  illustrated,  absorb  much  fine 

line  engraving,  177,  181 
with  plates  engraved  after 

Turner,  233,  234 
Both,  Jan,  etchings  by,  71 
Boydell,  John,  177 
Brandard,  Robert,  224,  228,  229 
British  soldiers    in    uniform,   first 

painted  by  an  American,  173 
Brooke,     Stopford,     collection     of 

Turner  prints  of,  248 
Browning,  Mrs.,  quoted,  108 


Caldecott,  Randolph,  269 
Callot,  Jacques,  etchings  of,  69 

prices  of  etchings  by,  69 

Chalk  engraving,  188,  189 
Chardin,   genre-painter,    i8th  cen- 
tury, 169 
Children,  engraved  by  Bartolozzi, 
194 


301 


302 


INDEX 


Classicism,  the  spirit  of,  predomi- 
nant in  18th-century  art,  172 

Claude  (Gelee),  168 

his  etchings,  63,  68 

Clennell,  Luke,  89 

Cleopatra,  authentic  portrait  of,  196 

Cliche — the  first  use  of,  in  wood 
engraving,  100 

Cliches,  their  use  to  diffuse  wood 
engravings,  123 

Colbert,  the  patron  of  the  fine  arts, 

154 
Cole,  Mr.  Timothy,  122 
wood  engravings    of,    132, 

133 
Collaborative  engraving   (steel  en- 
graving), 210 

(wood  engraving),  120 

Collecting,     general     observations 

and  suggestions  as  to,  50-52 
Colour  prints,  262-269 

forgeries  of,  49,  264-266 

inordinate  prices  of,  264 

list  of  engravers  whose  work 

is  in  colour,  298 

the  wood  blocks  of  Baxter, 


89         .    . 

Commercialism  eats  into  the  vitals 
of  art,  120,  126,  205,  210 

Conder,  Mr.  Charles,  168 

Constable,  John,  250-252 

enlargement     of    mezzotint 

after,  40 

Cooper,  T.  Sidney,  278 

Copper  engraving — see  Line  en- 
graving 

enlargement  of  a,  39 

Cousins,  Samuel,  249 

Cox,  David,  259 

Crane,  Walter,  126,  269 

CribUe  (dotted  style)  woodcuts,  80 

Cross-hatching,  use  and  abuse  of, 
81,97 

D 

Dalziel,  editions  illustrated  with 
wood  engraving  by,  97,  98,  99 

enlargement  of  wood  en- 
graving by,  38 

Dance  of  Death  series  (Holbein), 
82,  83,  84 


Danse  Macabre,  82 

Daniell,  William,  268 

Death,  Dance  <?/■  (Holbein),  84 

Dibdin,  Charles,  quoted,  261 ; 
aquatints  after,  261 

Drevet  family,  the,  engravers,  163 

Dryden,  portrait  of,  197  ;  enlarge- 
ment of,  39 

Dry-Point  Etching  described,  62 

Diirer,  Albert,  63 

■ copies  of  his  engravings,  48 

enlargement     of     woodcut 

after,  38 

men  who  executed 


cuts  after,  85 

woodcuts  after,  81 


Dusart,  etchings  by,  71 
Dutch  17th-century  etchers, 
of,  71 


wood- 


prices 


Early  Italian  school  of  line  en- 
gravers, 139,   140 

masters  in  etching,  62 

Earlom,  Richard,  247 

Liber     Veritatis     (Claude), 

engraved  by,  68 

Edelinck,  Gerard,  157 

Eighteenth  century,  classicism  pre- 
dominant in  art,  172 

England,  its  activity,  1 71 

illustrated  books,  contain- 
ing fine  engravings,  list  of,  182- 
184 

line  engraving,  167-184 


Engravers,  list  of,  287-299 

list  of  leading,  on  steel,  212, 

213 
Enlargements  of  portions  of  (aqua- 
tint),   40  ;    (etchings),   37  ;    (line 
engraving),    (39);     (lithograph), 
40;    (mezzotints),  40;   steel  en- 
graving),  (39);    (stipple  engrav- 
ings),   39,  40;    (woodcuts),    38; 
(wood  engravings),  38 
Etchers,  Dutch  17th  century,  71 
Dutch  17th  century,  prices 


of,  7] 


list  of  British,  287-289 
list  of  foreign,  287-289 
three  broad  classes  of,  75 


1: 


INDEX 


303 


Etching  by  Hollar,  enlargement  of, 

37 

dry-point  etching  described, 

62 

early  masters  of,  62 

Hogarth  as  an  etcher,  173 

how  to  identify  an,  37 

• its   extensive   use   by   early 

line  engravers,  143  ;  in  steel  en- 
graving, 209 

its  technique,  59-62 

revival  of,  72 

soft-ground      etching      de- 


scribed, 62 
Etchings,  list  of  modern,  by  living 

etchers,  76 

prices  of  (by  Hollar),  67 

Evelyn,  John,  240 
Everdingen,  etchings  by,  71 
Examples  showing  how  to  identify 

engravings,  37 


Faber,     John,     the     elder,    242 ; 

Junior,  242 
Faithorne,  William,  the  elder,  146 
Fantin-Latour,  282 
Forgeries  (colour  prints),  264-266 

(Diirer  woodcuts),  82 

(Hogarth's  plates  after),  174 

(various  classes  of),  48 

Foster,   Birket,  ' '  Pictures  of  Eng- 
lish Landscape,"  97 
France,  revival  of  etching  in,  72 
French  line  engraving  (17th  cen- 
tury), 153-164 


Gardner,  W.  Biscombe,  125 
Gaucherel  (etching  after  Dupre),  73 
Gelee  (Claude),  168 

Claude,  his  etchings,  63 

Gilbert,  Sir  John,  95,  119,  120 
Goldsmith,  Works  of,  illustrated  by 

G.  J.  Pinwell,  106,  107 
Goodall,  Edward,  226 
*'  Grangerising,"  the  origin  of  the 

term,  42 
Green,  Valentine,  244 
Greenaway,  Kate,  269 


Greville,  Hon.  Charles,  introduces 
aquatint  into  England,  258 

H 

Haden,  Sir  Francis  Seymour,   74, 

205 
Haghe,  Louis,  278 
Hamerton,  Philip  Gilbert,  74 
his  criticism  of  Turner,  229, 

230 
Harding,  J.  D.,  277 
Havell,  William,  268 
Plazlitt,  quoted,  246 
Herkomer,    Professor,    on  etching 

and  mezzotint,  209 
quoted,    on   the   decline  of 

wood  engraving,  126 
Higham  Thomas,   enlargement  of 

engraving  by,  39 
Hogarth,  William,  173-176,  193 
Holbein,  82-84 
enlargement     of     woodcut 

after,  38 

woodcuts  after,  81 

Hollar,  Wenceslaus,  64-68 
enlargement  of  etching  by, 

37 
Houbraken,  Jacobus,  148,  149 
Houghton,  A.  Boyd,  102-105 
Hullmandel,  C,  277 

I 

Illustrated  books  absorb  much  fine 
line  engraving,  177,  181 

containing  modern  litho- 
graphs, 279,  280 

Illustrations,  early  19th-century 
books,  with  steel  engravings, 
213,  214 

list  of,  in  magazines  (fac- 
simile wood  engraving),  111-115 

Illustrated  books,  list  of,  containing 
facsimile  wood  engravings,  1 1 1- 
iiS 

with     plates  after  Turner, 

233,  234 

journalism,  the  rise  of,  94, 

119,  120,  125 

Impressions,  number  of,  yielded  by 
steel,  206,  250 


304 


INDEX 


Ireland,  Dublin  an  art  centre,  for 
mezzotint  engravers,  242 

Italian,  early,  school  of  line  en- 
gravers, 139,  140 

— woodcuts,  84 


Jacquemart,  Jules,  etchings  of,  73 
Jardin,  K.  du,  etchings  by,  71 
Jonnard,  wood  engraving  by,  124 
Journalism,  illustrated,  the  rise  of, 
94,  119,  120,  12^ 

K 

Kaufmann,  Angelica,  172,  192,  263 
Kingsley,   Mr.   Elbridge,  wood  en- 
gravings of,  131,  132 


Lalanne,  Maxime,  73 

Landscape  school  of  engravers,  the 
rise  of,  168 

Lane,  R.  J.,  277 

Le  Blon,  Jakob  C,  267 

Lebrun,  engravings  after,  158,  159 

Legros,  M.  Alphonse,  etchings  by, 
76 

Leighton,  designs  for  wood  en- 
gravers, 107-9 

Le  Keux,  Henry,  212,  213 

Le  Prince,  Jean  Baptiste,  257,  258 

Lewis,  F.  C,  258 

Leyden,  Lucas  van,  63,  85 

line  engravings  by,  142 

Liber  Studiorum  (Turner),  219,  220, 
247,  248 

Veritatis  (Claude),  219 

Veritatis,       engraved      by 

Earlom,  after  Claude,  68 

Line  engraving  and  wood  engrav- 
ing compared,  89 

i8th  century,  167-184 

enlargement  of  a,  39 

18th-century  French  School, 

153-164 

technique  of,   137-139 


use    of    etching    by    early 

masters,  143 
Line  engravers  after  Turner,  219- 

234 


Line  engravers,  list  of,  289-292 
Linton,  W.  J.,  89 
Lithograph,  how  to  identify  a,  40 
Lithographers,  list  of,  298,  299 

list  of  British,  280,  281 

list  of  French,  281,  282 

Lithographs,  list  of  modern  journals 

containing,  284 
Lithographic  chalk,  275 
Lithography,  273-285 
"Little  Masters,"  the,  142 
Loggan,  David,  147 
London,  Cries  of  (Wheatley),  193  ; 

the  prototypes  of,  70 

in  the  days  of  Hogarth,  175 

Louis  XIV.  period  in  French  line 

engraving,  154 
XV.,  period  of,  in  engraving, 

167,  168 
Lucas,  David,  250-252 
enlargement    of    mezzotint 

by,  40 
Lupton,  T.,  250 
Liitzelburger,       enlargement       of 

woodcut  by,    38 
woodcuts  by,  85 

M 

McArdell,  James,  242,  243 
Magazines,   i8th  century,  contain- 
ing line  engravings,  181 

19th     century,     containing 

wood  engravings,  111-I15 
Marc  Antonio  Raimondi,  140 
Meissonier,  etchers  after,  74 
Meryon,  etchings  by,  72  ;  prices,  73 
Metz,  C.  M.,  261 

Mezzotint,      18th-century     mezzo- 
tinters,  172 

how  to  identify  a,  40 

its  most  fitting  application, 

239 

the  use  of  steel  in,  208 

engravers,  list  of,  294-297 

engraving,  237-252 

engraving,     its    technique, 

237-239 
engravings,  enlargements  of, 

40 
Mezzotints,  Turner's  series  of,  247 

248 


INDEX 


305 


Millais,  Sir  John,  95 
Miller,  William,  225 
Modern  wood  engraving,  compared 

with  Bewick's  methods,  90,  97 
Morghen,  Raphael,  170 
his  opinion  of  Houbraken, 

149 
Moreau,  the  younger,  169 
Morland,     George,     his     pictures 

especially  suited  for  mezzotint, 

246 
Morris,  William,  126,  127 
Miiller,  Johann  Gotthard  von,  170, 

171 
John  Sebastian,  178 

N 

Nanteuil,  Robert,  15^136 

enlargement    of    engraving 

by,  39 
Nash,  Joseph,  278 
Nesbit,  Charlton,  89 


Ostade,  etchings  by,  7 1 


Pannemaker  {fits),  131 

Stephane,  122,  124 

Passe,  Van  de,  family  of  engravers, 

144 
Pelham,  Peter,  241 
enlargement    of   mezzotint 

by,  40 
Pen  drawing  and  wash  drawing  for 

the  wood  engravers,  106 
Photography,  first  use  of,  in  wood 

engraving,  loi 
Picart,  Bernard,  copies  of  etchings 

by  old  masters,  64 
"Pickwick," an  "  extra  illustrated " 

edition  in  50  410  vols.,  42 
Pinwell,  G.  J.,  106,  107 
Pompadour,    Madame    de,    as    an 

engraver,   168 
Portraits,  series  of  engraved,  207 
Potter,  Paul,  etchings  by,  71 
Poussin,  Nicholas,  168 
Pre-Raphaelite  designers,  95 


Prices,  general   observations  con- 
cerning, 52-56 

Callot  (etchings  of),  69 

French  engravers  ( 1 7th  cen- 
tury), 158,  159,  160,  163 

Hollar  (etchings  of),  67 

line   engravers    (i8th   cen- 
tury),  170 

Meryon  (etchings  of),  73 

(mezzotint),  241 

Printing  in  colour,  262-269 

Proof    impressions,    their     artistic 

value,  Constable's  opinion,  252 
Proofs,  artist's,  commercialism   in, 
215,  250 

see  States 

Prout,  Samuel,  276 


Queyroy,  etching  by,  73 

enlargement  of  etching  by, 


37 


R 


Raimondi,  Marc  Antonio,  140 

Reduction  of  a  picture  to  be  en- 
graved, how  done,  209 

Rembrandt,  etchings  by,  63,  64 

copies  of  his  etchings,  48 

Restoration  of  prints,  49 

Reverse,  drawing  in,  61 

Reynolds,  Sir  Joshua,  his  pictures 
especially  suited  for  mezzotint, 
246 

S.  W.,  247,  249 

Roghman,  etchings  by,  71 

Rossetti,  D.  G.,  95,  96 

Rouen  Cathedral,  enlargement  of 
steel  engraving  of,  39 

Rubens,  school  of  engravers  after, 
142 

Rupert,  Prince,  introduces  mezzo- 
tint to  England,  240 

Ruskin,  his  criticism  of  Turner, 
229,  230 

Ruisdael,  etchings  by,  71 

Ryland,  William  Wynne,  189-192 


Sandys,  Frederick,  98-100 
Say,  William,  250 


20 


3o6 


INDEX 


Schongauer,  Martin,  63 
Seghers,  etchings  by,  7 1 
Selous,  H.  C,  279 
Senefelder,  Alois,  inventor  of  litho- 
graphy, 273,  274 
Sharp,  William,  179 
Sherwin,  John  Keyse,  179 

William,  147 

Short,    Mr.    Frank,    etchings    by, 

Siegen,    Ludwig  von,   inventor  of 

mezzotint,  239 
Simon,  Pierre,  156 
Smith,  John,  241,  243 

John  Raphael,  245 

Soft-ground  etching  described,  62 

Sporting  prints,  266,  267 

States,  the  advisability  of  beginner 

neglecting,  47 
artist's  proofs,  commercialism 

over  consideration  of,   160- 


163 


Steel  engravers,  list  of  leading,  212, 

213 
engraving,   enlargement  of 


39 


208 


the     excellence     of,     207, 


how  to  identify  a,  39 

how  to  identify  as  compared 

with  copper,  208 

its  first  use  in  1820,  205 

its  weakness  in   mezzotint, 


208 


219-234 

list 


[9th  century,  205-215 
engravings,    after    Turner, 


of   books  with,   after 


Turner,  233,  234 
Steel-facing,  215 
Steel-plate,     number      of      prints 

from,  250 
Stipple     engravers,    list    of,    293, 

294 

engraving,  187-201 

engravings,  enlargements  of. 


39 


list  of,  199-201 


Strange,  Sir  Robert,  176,  I77 
Swinburne  quoted,  99 


Technique  (of  aquatint),  255-257 

(etching),  59-62 

(line  engraving),  137-139 

(of  lithography),  273-276 

(mezzotint),  237-239 

(of  stipple  engraving),  187, 

188 

(wood  engraving),  79,  80 

Training  the  eye,  hints  to  the  be- 
ginner, 45 

Turner  as  an  etcher,  247 

as  a  mezzotinter,  248 

engravings  in  aquatint  after, 

259,  260 
large   prints   after,   list    of, 

228 
line  engravers  after,  list  of, 

292 

list  of  prints  from,  233,  234 

list  of  series  of  mezzotints 

after,  247,  248 
mezzotint   engravers    after, 

list  of,  297  * 

pictures     of,    showing     his 
221 
engravers    after, 

219-234 
the     series    of    engravings 

under  his  supervision,  221-226 
the  views  of    Ruskin    and 

Hamerton  concerning,  229,  230 

U 

Uhlrich,  enlargement  of  wood  en- 
graving by,  39 


artistic  phases 
the    line 


Vandyck  as  an  etcher,  68 

his  work  in  England,  145, 

146 
school   of   engravers    after, 

142 
Verboom,  etchings  by,  71 
Vertue,  George,  148,  I49l 
Victorian  facsimile  wood  engravers, 

list  of  principal,  with  details  of 

their  work,  111-115 
Vorsterman,  Lucas,  143 


INDEX 


307 


W 

Walker,  William,  180 
Waterloo,  etchings  by,  71 
Watson,  Caroline,  197,  245 
enlargement    of    engraving 

by,  39 

James,  245 

Thomas,  193 

Watteau,  168 

West,  Sir  Benjamin,  173,  177 

Wheatley,  Cries  of  London,  193 

Whistler,  74,  279 

White  line,  use  of,  86-88 

White,  Robert,  147 

Wille,  Johann  Georg,  169,  170 

Willette,  Adolphe,  282 

Wilson,  Richard,  247 

Woodcut,  how  to  identify  a,  38 

Woodcuts,  after  Diirer,   list  of  his 

cutters,  85 

enlargements  of,  38 

Italian,  84 

Wood-cutting,  the  technique  of,  79 
Wood  engravers,  list  of  British  and 

foreign,  289-290 
list  of  modern,  122,  123 


Wood  engraYing  and  line  engrav- 
ing compared,  89 

Bewick  and   modern  work 

compared,  90 

from   early  masters   to  Be- 


wick, 79-90 

how  to  identify  a,  38 

invention   of    wood    blocks 

joined  together,  120 

list  of  magazines  containing 

facsimile   wood  engraving,    iii- 

"5 

modern,  119-134 


modern   French    engravers, 

127-129 
reasons  of  its  failure,  93,  94, 

120,  125,  126 
Victorian  Facsimile  School, 

93-115 

enlargements  of,  38 

Woollett,  William,  178 


Zeeman,  etchings  by,  71 


UNWIN  BROTHERS,   LIMITED,  THE  GRESHAM  PRESS,  WOKING  AND  LONDON. 


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